MASCHINE MK3 MANUAL
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Table of Contents Table of Contents 1 2 Welcome to MASCHINE ............................................................................................. 23 1.1 MASCHINE Documentation .......................................................................................................... 24 1.2 Document Conventions ............................................................................................................... 25 1.3 New Features in MASCHINE 2.7 .....................................
Table of Contents 2.4 Native Kontrol Standard ............................................................................................................. 60 2.5 Stand-Alone and Plug-in Mode ................................................................................................... 62 2.6 2.7 2.8 3 2.5.1 Differences between Stand-Alone and Plug-in Mode ................................................. 62 2.5.2 Switching Instances .........................................................
Table of Contents 3.1.2 3.2 Browsing the Library vs. Browsing Your Hard Disks ................................................... 109 Searching and Loading Files from the Library ............................................................................ 110 3.2.1 Overview of the LIBRARY Pane ................................................................................... 110 3.2.2 Selecting or Loading a Product and Selecting a Bank from the Browser .................... 115 3.2.3 3.2.2.
Table of Contents 3.6 4 3.5.3 The TYPES and MODES Pages .................................................................................... 156 3.5.4 The PROPERTIES Page ............................................................................................... 158 Loading and Importing Files from Your File System .................................................................... 159 3.6.1 Overview of the FILES Pane .............................................................................
Table of Contents 4.4 4.5 5 4.3.1 Creating Groups ........................................................................................................ 199 4.3.2 Loading Groups ......................................................................................................... 201 4.3.3 Renaming Groups ...................................................................................................... 202 4.3.4 Changing the Group’s Color .................................................
Table of Contents 5.5 5.6 5.7 6 5.4.2 Choke All Notes .......................................................................................................... 245 5.4.3 Groove ....................................................................................................................... 246 5.4.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller .................................... 248 5.4.5 Tap Tempo ...........................................................................
Table of Contents 6.1.2 First Plug-in Slot of Sounds: Choosing the Sound’s Role ........................................... 281 6.1.3 Loading, Removing, and Replacing a Plug-in ............................................................ 282 6.1.3.1 6.2 6.3 Browser Plug-in Slot Selection ...................................................................288 6.1.4 Adjusting the Plug-in Parameters ............................................................................. 291 6.1.
Table of Contents 7 8 Using the Audio Plug-in ............................................................................................. 327 7.1 Loading a Loop into the Audio Plug-in ........................................................................................ 330 7.2 Using Loop Mode ........................................................................................................................ 332 7.3 Using Gate Mode ............................................................
Table of Contents 8.4 8.5 8.6 8.7 9 8.3.5 Snare – Airy ............................................................................................................... 368 8.3.6 Snare – Vintage ......................................................................................................... 370 8.3.7 Snare – Chrome ......................................................................................................... 372 8.3.8 Snare – Iron ..............................................
Table of Contents 9.1.1 Parameter Organization ............................................................................................. 420 9.1.2 Bass Synth Parameters ............................................................................................. 422 10 Working with Patterns ............................................................................................... 424 10.1 10.2 10.3 10.4 Pattern Basics ........................................................................
Table of Contents 10.5 10.4.5 Deleting Events/Notes ............................................................................................... 476 10.4.6 Cut, Copy, and Paste Events/Notes ............................................................................ 479 10.4.7 Quantizing Events/Notes ........................................................................................... 481 10.4.8 Quantization While Playing ....................................................................
Table of Contents 11 Audio Routing, Remote Control, and Macro Controls .................................................... 532 11.1 Audio Routing in MASCHINE ....................................................................................................... 533 11.1.1 Sending External Audio to Sounds ............................................................................. 534 11.1.2 Configuring the Main Output of Sounds and Groups ................................................. 539 11.1.
Table of Contents 12.2.4 Managing Your Channels in the Mixer ....................................................................... 600 12.2.5 Adjusting Settings in the Channel Strips ................................................................... 602 12.2.6 Using the Cue Bus ..................................................................................................... 606 12.3 The Plug-in Chain .............................................................................................
Table of Contents 13.4 13.3.2 Step 2: Route Audio to the Send Effect ...................................................................... 653 13.3.3 A Few Notes on Send Effects ...................................................................................... 655 Creating Multi-Effects ................................................................................................................ 656 14 Effect Reference ...........................................................................
Table of Contents 14.4.5.1 Reverb Room .............................................................................................701 14.4.5.2 Reverb Hall ................................................................................................704 14.4.5.3 Plate Reverb ..............................................................................................707 14.5 14.6 14.7 Delays .............................................................................................................
Table of Contents 15.1.3 15.2 15.3 Jumping to Other Sections ......................................................................................... 755 Using Ideas View ........................................................................................................................ 757 15.2.1 Scene Overview .......................................................................................................... 757 15.2.2 Creating Scenes ....................................................
Table of Contents 15.3.8.1 Making Sections Unique ............................................................................795 15.3.9 Removing Sections .................................................................................................... 796 15.3.10 Renaming Scenes ...................................................................................................... 798 15.3.11 Clearing Sections .........................................................................................
Table of Contents 16.4.2 Adjusting the Slicing Settings ................................................................................... 839 16.4.3 Live Slicing ................................................................................................................ 845 16.4.3.1 Live Slicing Using the Controller ................................................................845 16.4.3.2 Delete All Slices .........................................................................................
Table of Contents 17.3 17.2.3 Create Variations of Your Drum Patterns in the Step Sequencer ................................ 886 17.2.4 Use Note Repeat ........................................................................................................ 886 17.2.5 Set Up Your Own Multi-effect Groups and Automate Them ........................................ 886 Special Tricks ..........................................................................................................................
Welcome to MASCHINE 1 Welcome to MASCHINE Thank you for buying MASCHINE! MASCHINE is a groove production studio that implements the familiar working style of classical groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instrument, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.
Welcome to MASCHINE MASCHINE Documentation 1.1 MASCHINE Documentation Native Instruments provide many information sources regarding MASCHINE. The main documents should be read in the following sequence: 1. MASCHINE Getting Started: This document provides a practical approach to MASCHINE via a set of tutorials covering easy and more advanced tasks in order to help you familiarize yourself with MASCHINE. 2.
Welcome to MASCHINE Document Conventions MASCHINE documents are available in PDF. You can also access these documents from the application’s Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized versions of these documents. 1.2 Document Conventions This section introduces you to the signage and text highlighting used in this manual.
Welcome to MASCHINE Document Conventions ▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display. ▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller. ▪ Important names and concepts are printed in bold.
Welcome to MASCHINE New Features in MASCHINE 2.7 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 The unlabeled buttons and knobs on the MASCHINE controller. For better reference, we applied a special formatting here: throughout the document, the elements are capitalized and numbered, so the buttons above the displays are written Button 1 to Button 8, while the knobs under the displays are written Knob 1 to Knob 8. E.g.
Welcome to MASCHINE New Features in MASCHINE 2.7 ▪ Sound Lane Height zoom option has been added to the Pattern Editor to double the height of Sound Slots and Note lanes in the Pattern Editor. Click the vertical scroll bar in the Pattern Editor, or use Knob 7 in the Navigate page of the MASCHINE STUDIO and MASCHINE MK3 controllers to zoom in or out of your Pattern.
Basic Concepts Important Names and Concepts 2 Basic Concepts This chapter will reintroduce you to MASCHINE’s main elements and terminology and explain how they relate to one another. You will also learn how to set up your audio interface and how to connect MIDI devices. Before reading this chapter it is strongly recommended that you read the MASCHINE Getting Started first. 2.1 Important Names and Concepts We will start with a list defining the most important concepts and names.
Basic Concepts Important Names and Concepts Project A Project contains all data needed for a song: Groups with their Patterns, all Scenes and all settings, modulation, effects, routings, Sounds and Samples. It’s like a snapshot of the entire state of MASCHINE. Please read the MASCHINE Getting Started for a complete overview of the MASCHINE Project structure. Sound Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any number of Plug-ins.
Basic Concepts Important Names and Concepts Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Arranger view to create an arrangement. Refer to chapter ↑15.3, Using Arranger View for more information on Scenes. Section A Section is a reference to a specific Scene on the Timeline of the Arranger view.
Basic Concepts Adjusting the MASCHINE User Interface details on using effects in MASCHINE, refer to chapter ↑13, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑14, Effect Reference. Please refer to chapter ↑19, Glossary at the end of this Manual for more definitions! 2.2 Adjusting the MASCHINE User Interface The MASCHINE software user interface is very flexible.
Basic Concepts Adjusting the MASCHINE User Interface The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]). 2.2.2 Switching between Ideas View and Arranger View At any time you can quickly switch between the Ideas view and the Arranger view, using the Arranger View button. The Arranger View button in the top left corner. ► Click the Arranger View button to toggle between the Ideas view and Arranger view.
Basic Concepts Adjusting the MASCHINE User Interface For more information about Ideas view and Arranger view see ↑15.3, Using Arranger View. Switching between Ideas View and Arranger View using the Controller On your controller: ► Press SHIFT + SCENE to switch between the Ideas view and Arranger view. → The software switches between Ideas view and Arranger view. 2.2.3 ► Showing/Hiding the Browser Click the Browser button (with the magnifier symbol) in the Header to show and hide the Browser.
Basic Concepts Adjusting the MASCHINE User Interface Minimizing/maximizing the Mixer. 2.2.5 Showing/Hiding the Control Lane When MASCHINE is in Arrange view, you can show/hide the Control Lane under the Pattern Editor: ► Click the arrow button on the bottom left of the Pattern Editor to show and hide the Control Lane.
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. 2.3 Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations. 2.3.1 Using the 4-Directional Push Encoder The 4-Directional Push Encoder (referred to as the Encoder) combines the functionalities of a conventional joystick, of a button, and of a continuous encoder.
Basic Concepts Common Operations The Encoder situated to the left of the VOLUME, SWING and TEMPO buttons. Depending on the menu or context, the available actions differ: ▪ The displays are navigated by moving the 4-D encoder in a direction indicated by the surrounding LEDs. ▪ Entries in a list are browsed by turning the 4-D encoder. ▪ The value of a highlighted parameter is adjusted by turning the 4-D encoder. ▪ A selection is confirmed by pushing the 4-D encoder. 2.3.
Basic Concepts Common Operations But in some situations you might want to release the mode button of a temporary mode without leaving that mode, e.g., to free your hand and tweak other controls more easily. For this purpose, MASCHINE lets you pin (or “lock”) temporary modes so that they behave like permanent modes. ► To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN, etc.) + Button 1 above the left display. → Now the mode is always pinned when you select it.
Basic Concepts Common Operations But in some situations you might want to release the mode button of a temporary mode without leaving that mode, e.g., to free your hand and tweak other controls more easily. For this purpose, MASCHINE lets you pin (or “lock”) temporary modes so that they behave like permanent modes. 2.3.4 Undo/Redo Undoing and re-doing your last actions can be useful to cancel operations you have performed or to compare two versions before and after a change.
Basic Concepts Common Operations Take Undo Suppose you have just recorded a 16th-note hi-hat beat over four bars, but then decide to cancel it. Normally you would have to cancel the 64 notes one at a time, repeatedly calling the undo function 64 times in a row. This is what Take Undo has been made for! Take Undo/Redo is an extended undo/redo available while recording that allows you to cancel or re-execute a whole group of actions at once. Take Undo/Redo is the default undo/redo in MASCHINE.
Basic Concepts Common Operations 2.3.5 List Overlay for Selectors Many MASCHINE parameters are presented in the form of a selector providing a list of possible values for the parameter (e.g., the Mode parameter of the Saturator Plug-in or the Dest. parameter in the Audio page of the Sound’s/Group’s Output Channel settings). A selector. From your controller, you can adjust such a parameter by turning the corresponding Knob under the display of your controller.
Basic Concepts Common Operations The list is displayed as long as you touch or turn the corresponding Knob. When you release the Knob, the list disappears after a short delay. Only one list can be displayed at a time. If you actuate two or more Knobs that control selectors, only the list for the last-touched Knob will be shown. 2.3.
Basic Concepts Common Operations Setting the focus on a Sound or Group is slightly different than selecting it: The focus defines what will be displayed, whereas the selection defines what will be affected by your edits. Note that a focused Sound/Group is always selected. The distinction is of importance because you can select multiple Sounds or Groups to apply your edits to all of them at once! See section ↑4.1.3, Selecting Multiple Sounds or Groups for more on this.
Basic Concepts Common Operations The focused Group is highlighted and the Pattern Editor show its content. If the desired Group does not appear in the Group List, use the scroll bar at the right end of the Arranger or turn your mouse wheel while hovering the Arranger to display any hidden Groups. You can also extend the Arranger by dragging its lower right corner vertically with the mouse. You can also select multiple Groups at once to apply changes to all of them. See section ↑4.1.
Basic Concepts Common Operations 1. Set the focus to the Group containing the desired Sound by clicking it in the Group List on the left of the Arranger (see above). The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group. 2. Click the desired Sound slot in the Sound List of the Pattern Editor: → The focused Sound slot is highlighted. The focused Sound slot is highlighted.
Basic Concepts Common Operations If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden Sounds. You can also select multiple Sounds at once to apply changes to all of them. See section ↑4.1.3, Selecting Multiple Sounds or Groups for more information. Focusing on a Group using the Hardware 1.
Basic Concepts Common Operations 2.3.8 Switching Between the Master, Group, and Sound Level At any time you can quickly switch the Control area between the parameters of the Master, the focused Group, and the focused Sound. Click the desired tab to switch the display of the Control area. ► Click the MASTER, GROUP or SOUND tab in the top left corner of the Control area to display the Plug-in parameters or Channel properties of the Master, the focused Group or the focused Sound, respectively.
Basic Concepts Common Operations 2.3.9 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area We describe here how to display/edit any Plug-in parameters or Channel properties located in any Sound, Group or the Master. To select a particular Plug-in or a particular set of Channel properties, you first need to display the parameters of the Master, the desired Group or Sound. 1.
Basic Concepts Common Operations 2. Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selector to select that set of Channel properties. → The selected button is highlighted and the parameters of the selected Channel properties appear in the Parameter area (the right and biggest part of the Control area). Selecting a Plug-in 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins: The icon lights up.
Basic Concepts Common Operations In the software the names of the available pages are displayed at the top of the Parameter area. The name of the page currently displayed is highlighted. ► Click the desired page name at the top of the Parameter area to show the corresponding Parameter page. The Parameter pages of the Sound’s Output properties: Audio (currently displayed), Aux, and MIDI.
Basic Concepts Common Operations Element Action Knob: Click the knob and drag your mouse vertically to change the parameter value. Hold [Shift] on your computer keyboard and drag your mouse to adjust the value in finer increments. Button: Click the button to switch its state. When the button is enabled, it shows a small colored LED. Selector: Click the displayed value to open the drop-down list, and click another value in the list to select it.
Basic Concepts Common Operations 5. Use the Page buttons left of the displays to navigate through the Parameter pages of the selected Channel properties or Plug-in: Moreover, if there is another page available to the left or to the right of the current page, the corresponding Page button will be half lit on your controller. 6. Use Knobs 1–8 under the displays to adjust the value of the parameters available on the selected page.
Basic Concepts Common Operations Using the Navigate Mode Alternatively, you can also navigate Channel properties and Plug-ins along with their Parameter pages via the Navigate mode of your controller: 1. Press SHIFT + VARIATION (Navigate) to enter Navigate mode (or pin it by pressing NAVIGATE + Button 1). 2. Hold SHIFT + VARIATION (Navigate), then Button 2 (PAGE NAV) to enter Page Navigation mode. 3.
Basic Concepts Common Operations ▪ The default Software Navigation mode lets you adjust the look of the software interface: You can show/hide specific elements and change zoom/scroll settings. ▪ The Page Navigation mode allows you to navigate Channel properties, Plug-ins along with their Parameter pages.
Basic Concepts Common Operations Action Shortcut Sound Lane Height (Pad Mode only) Turn Knob 7 Pattern Editor Scroll up/down (Except Pad Mode) Turn Knob 8 or press pad 8/4 You can quickly switch the software between Ideas view and Arranger view by pressing SHIFT + SCENE on your controller. The Page Navigation mode allows you to navigate the Parameter pages available in the Channel properties and Plug-ins of the various channels (Sounds, Groups, and Master) in your Project.
Basic Concepts Common Operations The pages for the selected bank are displayed in the software and the controller. ► To access Page Navigation mode press NAVIGATE + SHIFT + Button 2. → When Page Navigation mode is enabled, your controller displays the Page Navigation mode: The left-hand display provides an overview of the selected Channels or Plug-ins for the selected Sound. ► To access each Channel or Plug-in for the selected Sound, press Buttons 5 and 6.
Basic Concepts Common Operations A controller not connected to any MASCHINE software instance can be used in MIDI mode (i.e. as a MIDI controller) at the same time as the other controller(s). See the Controller Editor Manual for more information on MIDI mode. You can choose which controller you want to use with the MASCHINE software. This can be done both from your controller and in the software.
Basic Concepts Common Operations ▪ MASCHINE STUDIO controller: Press SHIFT + PLUG-IN, turn the jog wheel to select the desired instance, and press the jog wheel or Button 8 to load it. ▪ MASCHINE (MK1 & MK2) controller: Press SHIFT + STEP, turn Knob 8 (or press Button 5/6) to select the desired instance, and press Button 8 to load it. ▪ MASCHINE MIKRO (MK1 & MK2) controller: Press SHIFT + F2, turn the Control encoder to select the desired instance, and press the Control encoder to load it.
Basic Concepts Common Operations ◦ If you touch the Knobs but don’t rotate them, the last modulation values for these parameters keep being recorded as new events as the playhead moves forward, thereby overwriting any existing modulation events at the playhead position. Modulation stops being recorded when you release the Knob(s).
Basic Concepts Native Kontrol Standard To access the Touch-Sensitive Knobs section in the Hardware page, your MASCHINE controller must be connected to your computer and controlling the MASCHINE instance.
Basic Concepts Native Kontrol Standard Type and Mode Tags). And when you load a preset from an NKS instrument, its parameters are mapped to the controls on your KOMPLETE KONTROL S-SERIES keyboard in a meaningful way, just like any preset from your KOMPLETE Instruments. NKS instruments are automatically added to your Library when you start MASCHINE or KOMPLETE KONTROL for the first time after installing the instrument (except KONTAKT instruments with NKS support, see below).
Basic Concepts Stand-Alone and Plug-in Mode The MASCHINE, and KOMPLETE KONTROL Libraries, and the KONTAKT Browser reference the instrument files contained in the folder. It is recommended to not delete or move the folder afterwards, or otherwise MASCHINE, KOMPLETE KONTROL, and KONTAKT will not be able to find the instrument files. If an instrument cannot be found, use the Rescan function on the Preferences’ Library page to update the Library with the correct folder location (see section ↑2.6.
Basic Concepts Stand-Alone and Plug-in Mode Audio and MIDI Handling When MASCHINE is used in stand-alone mode, it directly communicates with your audio and MIDI interface. You can select which physical audio/MIDI ports have to be used on your interface, and configure crucial audio settings like the sample rate. All this is done via the Audio and MIDI Settings panel (for more information on this, please refer to ↑2.7, Integrating MASCHINE into a MIDI Setup).
Basic Concepts Stand-Alone and Plug-in Mode 2.5.2 Switching Instances When two or more instances of the MASCHINE software are running (e.g., as plug-ins on different tracks of your DAW), you must choose which instance you want to control from your hardware controller. You can do this both from your controller and in the software. ► To select your controller from a particular MASCHINE instance, click the Connect button in the MASCHINE Header of that instance.
Basic Concepts Preferences ◦ Rule 2: The MASCHINE controllers (legacy and MK3) have priority focus over MASCHINE MIKRO controllers. ◦ Rule 1 has priority over rule 2. 2.6 Preferences The Preferences panel lets you specify various settings for MASCHINE.
Basic Concepts Preferences ▪ Library: see ↑2.6.5, Preferences – Library Page. ▪ Plug-ins: see ↑2.6.6, Preferences – Plug-ins Page. ▪ Hardware: see ↑2.6.7, Preferences – Hardware Page. ▪ Colors: see ↑2.6.8, Preferences – Colors Page. 2.6.1 Preferences – General Page The General page holds all of the global settings for MASCHINE. ► To display the General page, click the General tab on the left of the Preferences panel.
Basic Concepts Preferences The Preferences – General page. Setting Description Startup Reload Last Project Click this checkbox to automatically reload the last Project on startup.
Basic Concepts Preferences Setting Description Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved. If not, your recordings will be saved in the generic Recordings folder in your standard user directory (see section ↑2.6.4, Preferences – Default Page). Metronome Enabled Check this box to activate the metronome.
Basic Concepts Preferences Setting Description Count-in Length Select the duration of the Count-in, i.e. how long the metronome will sound before the recording actually starts. Link Enabled Click the checkbox to enable the Link protocol by default. Applications that support Ableton Link can join a Link session when connected to the same network. For more information on Link please refer to section: ↑2.8, Syncing MASCHINE using Ableton Link.
Basic Concepts Preferences Setting Description Usage Data Tracking Allow usage data tracking Here you can select to enable or disable Usage Data Tracking. Usage Data Tracking technology enables MASCHINE to automatically track anonymous usage data that you can choose to share with us. All users should keep Data Tracking enabled as it provides a valuable tool for understanding the performance of Native Instruments applications when they are used in real life situations.
Basic Concepts Preferences ▪ Press Button 5 (METRONOME) to enable the Metronome. ▪ Press Button 6 (LINK) to enable Ableton Link. ► To save your settings and return to MASCHINE mode, press SETTINGS. For more information on using Link refer to: ↑2.8, Syncing MASCHINE using Ableton Link. 2.6.2 Preferences – Audio Page The Audio page holds settings related to your audio interface.
Basic Concepts Preferences Preferences – Audio page. Setting Description Interface Driver Select your audio driver from the drop-down menu. Device Select the available devices if you have more than one audio interface connected.
Basic Concepts Preferences Setting Description Status This confirms whether your audio interface is currently running. Sample Rate This displays the selected sample rate of your audio interface. Please restart MASCHINE after changing the sample rate. ASIO Config (Windows only) Click Open Panel to access specific controls related to your audio interface. Please consult the documentation that came with your audio interface for more information.
Basic Concepts Preferences Setting Description Input Click Inputs to display the Routing Inputs. Here you can select which inputs on your audio interface should be used for the four stereo inputs of MASCHINE. Select the inputs of your audio interface on the right column by clicking the fields: you will be presented with a drop-down menu with all the available Inputs. The choices made here will determine which inputs can be used when sampling external sources, for example.
Basic Concepts Preferences ▪ Turn Knob 1 (DRIVER) to select an audio driver. ▪ Turn Knob 2 (DEVICE) to select an alternative audio device. ▪ Turn Knob 3 (SAMPLE RATE) to select a sample rate. ▪ Turn Knob 4 (BUFFER SIZE) to adjust the buffer size. Page 2: Input Routings Input routing is configured on page 2 of the Audio preferences. To configure the Input routing for the selected audio interface: ▪ Use the page buttons to select page 2: Input Routing.
Basic Concepts Preferences The Preferences – MIDI page.
Basic Concepts Preferences Setting Description Sync Mode Click the drop-down menu to set the MIDI Sync mode preference for MASCHINE: Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groove box, or even another software sequencer.
Basic Concepts Preferences Setting Description Outputs Click Output to display a list of all the available MIDI outputs of your system. You can activate/deactivate each output by clicking the fields in the Status column, which displays the current status of the corresponding port. Adjusting MIDI Preferences Using the Controller You can access the MIDI preferences directly from the controller. The options found here are a replica of those found in the software.
Basic Concepts Preferences The Preferences – Default page.
Basic Concepts Preferences Setting Description Project Standalone Here you can select a Project to load automatically when you start a new Project in MASCHINE used as a stand-alone application. The field displays the location of the Template Project selected for use. Click the folder icon to select another Template Project.
Basic Concepts Preferences Setting Description Duplicate Select from the drop-down menu how the Duplicate function in MASCHINE will operate when duplicating Scenes. Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated. The new Scene and Patterns are now completely independent from the originals.
Basic Concepts Preferences Setting Description Sound Default MIDI Input Mode MASCHINE allows you to play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound. In addition, you can select that a Sound receives no MIDI input, and also define the default setting for MIDI input by selecting the Default MIDI Input Mode preference.
Basic Concepts Preferences The Preferences panel – the Library page’s Factory pane. The Factory pane displays all factory libraries available. These includes the MASCHINE Factory Library, libraries imported from other NI products, as well as installed MASCHINE EXPANSIONS. These libraries will appear in the Factory view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Product column Displays the name of each product. These names cannot be edited. Rescan button If you have made any change to a library (e.g., changed its location), select it in the list and click the Rescan button to rescan that library.
Basic Concepts Preferences The Preferences panel – the Library page’s User pane. The User pane displays all user libraries currently in use. This includes the standard MASCHINE user directory as well as any other user directory you might have defined. These libraries will appear in the User view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Alias column Displays the alias stored for each library. Click an alias to edit it. Defining aliases for your user folders is not mandatory, but it can be of great help when working on different computers (see description below).
Basic Concepts Preferences The User Content folder can neither be renamed nor removed from the list. You can modify its path in the Location column. Standard User Directory Cannot Be Removed The Standard User Directory can neither be renamed nor removed from the list in the User pane of the Library page in the Preferences panel. You can modify its path in the Location column.
Basic Concepts Preferences ► Click CANCEL in the Updating Database dialog to interrupt the scan. A Cancel Rescan dialog opens up asking you to confirm that you want to cancel the scan: The dialog warns you that cancelling the scan may lead to inconsistencies or missing items in your MASCHINE Library. ▪ If you still want to cancel the scan, click CANCEL RESCAN at the bottom right, and the scan will be cancelled.
Basic Concepts Preferences Adding Folders to the User Library In the User pane of the Library page, you can add other folders to the user content of your MASCHINE Library. To do this: 1. Click Add at the bottom of the pane. A folder selection dialog opens up. 2. In the dialog, navigate to the desired folder on your computer and click OK (Choose on macOS). → All MASCHINE-compatible files found in the selected folder are added to your user content in MASCHINE.
Basic Concepts Preferences Please note that the selected folder cannot contain, or be contained within, a folder already listed in the User or Factory pane. If MASCHINE detects such a folder as you press OK (Choose on macOS) in the folder selection dialog, a Duplicate Location message appears: Click OK to return to the folder selection dialog and select another folder on your computer. Removing Folders from the User Library You can also remove any user folder from your Library — except the default user.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane.
Basic Concepts Preferences Element Description Plug-in column Lists all available VST/AU plug-ins from the directories specified in the Locations pane (see below). This includes all enabled or disabled 32-bit VST/AU plug-ins, when MASCHINE is running in 32-bit mode or otherwise all enabled or disabled VST/AU 64-bit plug-ins, when MASCHINE is running in 64-bit mode. On the left of each plug-in in the list, a checkbox allows you to enable/disable this plug-in in MASCHINE.
Basic Concepts Preferences Manager Pane: Use NI Audio Units Checkbox (macOS Only) On macOS, the Manager pane contains an additional Use NI Audio Units checkbox.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. The Locations pane also contains the following controls: Element Description Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon on the left of an entry to change the path of that plug-in directory. Add button Click Add to add plug-in directories.
Basic Concepts Preferences Element Description Remove button Click Remove to remove the selected directory. Rescan button If you have changed the content of a directory (such as installed or removed plug-ins), you should rescan your plug-in directories in order to keep the list of available plug-ins up to date.
Basic Concepts Preferences The Preferences panel – Hardware page.
Basic Concepts Preferences Setting Description Controller The Controller menu allows you to select a connected device and modify its settings. You can have two devices simultaneously focused on a MASCHINE instance: a controller from the MASCHINE family and a KOMPLETE KONTROL SSERIES keyboard. After a new device has been selected from the Controller menu, the Hardware page will update to display the available options.
Basic Concepts Preferences Setting Description Touch Auto-write Use the Touch Auto-write checkbox to enable or disable the Touch Auto-write option. Touch Auto-write can be very useful if you want to re-record modulation for a parameter, at a constant value. With Touch Auto-write enabled, you only need to keep a finger on a parameter Knob (1–8): The current modulation value is recorded as long as you touch the Knob, automatically replacing any old modulation events at the position in the Pattern.
Basic Concepts Preferences ▪ Turn Knob 6 (AUTO-WRITE) to enable or disable the Touch Auto-write option. ► To save your settings and return to MASCHINE mode, press SETTINGS. 2.6.8 Preferences – Colors Page The Colors page enables you to choose default colors for your Scenes, Groups, and Sounds. ► To display the Colors page click the Colors tab on the left of the Preferences panel. The Preferences panel – Colors page.
Basic Concepts Preferences Setting Description Scene Default Select the default color for your Scenes. In the menu, you can select the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color. Group Default Select the default color for your Groups. In the menu, you can choose the desired color from the 16-color palette.
Basic Concepts Integrating MASCHINE into a MIDI Setup 2.7 Integrating MASCHINE into a MIDI Setup You can quickly integrate MASCHINE into a MIDI setup. You can use MIDI in MASCHINE in various ways. Notably: ▪ You can synchronize a MIDI Clock signal between MASCHINE and other MIDI devices: ↑2.7.2, Sync to External MIDI Clock and ↑2.7.3, Send MIDI Clock. ▪ If you connect a MIDI keyboard to the MIDI IN, you can directly play the focused Sound with it without having to set anything up.
Basic Concepts Integrating MASCHINE into a MIDI Setup 2. If MASCHINE is running as a stand-alone application, activate the corresponding MIDI input and/or output(s) of your MASCHINE controller in the MIDI page of the Preferences panel (see ↑2.6.3, Preferences – MIDI Page). 3. If MASCHINE is running as a plug-in in a host application, the MIDI configuration is managed by the host (see section ↑2.5, Stand-Alone and Plug-in Mode).
Basic Concepts Integrating MASCHINE into a MIDI Setup If you want to configure MASCHINE to react to other MIDI messages than MIDI Clock, in particular if you want to control MASCHINE notes and parameters via MIDI, please refer to section ↑11.2, Using MIDI Control and Host Automation, where this is described in detail. 2.7.3 Send MIDI Clock If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock.
Basic Concepts Syncing MASCHINE using Ableton Link 2.8 Syncing MASCHINE using Ableton Link Ableton Link is a protocol that synchronizes beat, phase and tempo of Link-enabled applications on the same computer or over a shared network. This means you can conveniently keep applications synchronized across different devices or join a group jam with others with minimal setup.
Basic Concepts Syncing MASCHINE using Ableton Link After clicking the Play button, playback will resume on the downbeat once the moving bar within the LINK button is filled. The first participant to join the session sets the initial tempo, from then on any participant in the session can change the tempo in their respective application. If multiple participants change the tempo at the same time, the last tempo change will take effect. To start or join a Link session, proceed as follows: 1.
Basic Concepts Using a Pedal with the MASCHINE Controller 2.9 Using a Pedal with the MASCHINE Controller Your MASCHINE MK3 Controller provides a pedal input in the form of 1/4" socket on its rear panel. The pedal input on the rear panel of your controller. The PEDAL socket allows you to use a pedal footswitch to control the transport in MASCHINE. A single footswitch with two pedals can be used to control the transport in the following way: ▪ Pedal 1: Starts/stop the playback in MASCHINE.
Basic Concepts File Management on the MASCHINE Controller To access File mode: ► Press the FILE button. → The File menu is displayed. All File menu options are explained in the table below. File Management Option Description NEW Creates a new Project file. If you already have a project open, you will be prompted to save or discard it, after which a new Project will be created. SAVE AS Allows you to save the current Project with an alternative name.
Browser Browser Basics 3 Browser The Browser is the place where you can organize and categorize all of your Projects, Groups, Sounds, Plug-in presets, and Samples. This is done by tagging them, which means categorizing them by using keywords. Given that the MASCHINE software has some advantages over the hardware in this case, such as a very big screen and a QWERTY-keyboard, we will start with the software first. 3.1 Browser Basics This section describes some general concepts about the Browser. 3.1.
Browser Browser Basics Note that the Library is the only other way to display and access your files: You could also navigate to the same files in your file system. The (substantial) difference lies in the fact that the Library organizes your files in a musically relevant way. Which Files are Included in the MASCHINE Library? The files included in the MASCHINE Library are all MASCHINE-relevant files found in the folders whose paths are listed in the Library page of the Preferences panel.
Browser Searching and Loading Files from the Library Click the desired tab to show the corresponding pane of the Browser. The LIBRARY pane is described in section ↑3.2, Searching and Loading Files from the Library, and the FILES tab is described in section ↑3.6, Loading and Importing Files from Your File System. 3.2 Searching and Loading Files from the Library The Browser’s LIBRARY pane allows you to search for any file in the MASCHINE Library.
Browser Searching and Loading Files from the Library 1 2 3 4 5 6 7 8 9 The elements of the LIBRARY pane. (1) LIBRARY tab: Click the LIBRARY tab to open the LIBRARY pane described here. (2) File Type selector: This contains six icons, each representing the different files types of MASCHINE. From the left to right the file types are Project, Group, Sound, Instrument preset, Effect preset, and Sample.
Browser Searching and Loading Files from the Library (3) Content selector: Click the NI icon (on the left) to select factory content or the User icon (on the right) to select user content instead. Only the files of the content selected here will be displayed in the Result list (8). See section ↑3.2.5, Choosing Between Factory and User Content.
Browser Searching and Loading Files from the Library ▪ For all files, click the EDIT button at the far right of the bar to open the Attribute Editor and modify the tags and properties assigned to the selected file(s). See section ↑3.5, Editing the Files’ Tags and Properties. Overview of the Search Workflow in the LIBRARY Pane When searching for files via the LIBRARY pane, you can progressively refine your search by following this typical top-to-bottom workflow. The first two steps are mandatory: 1.
Browser Searching and Loading Files from the Library The Browser on your controller. On the displays of your controller, the Browser is organized as follows: ▪ The left display allows you to narrow your search by selecting the file type, the content type (factory or user files), as well as a product category, a product, a bank, and a sub-bank. ▪ The right display allows to further refine your search by selecting the desired Type (and possibly Mode) tags. It also shows you the corresponding result list.
Browser Searching and Loading Files from the Library 1. Move the 4-D encoder left/right to select the field you want to select. The selected field is indicated by thin brackets: 2. Turn the 4-D encoder to change the value in the selected field. 3. Move the 4-D encoder up/down to scroll the Results list. 4. Press the 4-D encoder to make a selection from the Results list. 3.2.
Browser Searching and Loading Files from the Library Selecting a Product Category ► Click on the Product selector header to open it. → The Product selector opens up, showing you all products available in your MASCHINE Library. 1 2 3 The opened Product selector. (1) Product selector header: The header shows the selected product—if there is no selection it shows a generic label (All Instruments). Click on the header to close the Product selector.
Browser Searching and Loading Files from the Library If Vendor is selected in the Category / Vendor selector, the Product list is sorted by the names of the manufacturers. ► To select a product and show only the preset files associated with it, click on the product in the list. → Upon your selection, the Product selector automatically closes, the product name and icon appear in the header, and the tag filter and results list below will be filtered accordingly.
Browser Searching and Loading Files from the Library The Bank menu showing All Banks for POLYPLEX The Bank menu allows you to select a particular bank of files for the selected product (POLYPLEX in the picture above).
Browser Searching and Loading Files from the Library ► As with the product selection, you can remove the selected bank by clicking the little cross next to the bank name in the closed menu. Loading a Product from the Product Selector If you wish to not only filter the results list by selecting a product, but also load the product along with its default preset file, you can do so directly from the Product selector.
Browser Searching and Loading Files from the Library ▪ After selecting a category and product the list of available presets appear on the righthand display. 7. Turn the 4-D encoder or Knob 8 to select a preset. 8. Press the 4-D encoder or Button 8 to load the selected preset. 3.2.2.2 Browsing by Product Vendor Using MASCHINE MK3 The MASCHINE Browser can filter your search by product category. To filter products by Category in the Browser using the controller: 1. Press BROWSER to show the Browser.
Browser Searching and Loading Files from the Library The closed Product selector without any Instrument selected. Selecting a Product or a Product Category ► Click the Product selector to open it.
Browser Searching and Loading Files from the Library 1 2 3 The opened Product selector (for Instrument presets). (1) Product selector header: The header shows the product or the selected product category — if there is no selection it shows a generic label (All Instruments in the picture above) corresponding to the type of file selected in the File Type selector above. Click the header to close the Product selector.
Browser Searching and Loading Files from the Library selected at a time. You can also select a category and close the Product selector by clicking its header (1) again: The header (1) will display the category that you have just selected, and the TYPES filter (and MODES filter, if present) along with the Result list will be filtered by that category. (3) Product list: Shows the products for which files are available in the MASCHINE Library. Click the desired product in the list.
Browser Searching and Loading Files from the Library Selecting a Bank and a Sub-Bank When you select specific products in the Product list (see description above), an additional Bank menu appears under the closed Product selector: The Bank menu showing All Banks for REAKTOR Effects. This Bank menu allows you to select a particular bank of files for the selected product (MASCHINE in the picture above).
Browser Searching and Loading Files from the Library The Grain Delay sub-bank in the Maschine 2.0 Library bank. As with the product above, you can remove the selected bank and sub-bank by clicking the little cross at the right of the bank or sub-bank name in the closed menu.
Browser Searching and Loading Files from the Library 1. Turn Knob 1–4 under the left display to select a product category (if any), a particular product, a bank of that product (if any), and a sub-bank in that bank (if any), respectively. Turn a Knob at full left to remove any particular selection at this level (i.e. to select all items at this level). 2. Alternatively, move the 4-D encoder left or right to select a field and then turn it to adjust the value.
Browser Searching and Loading Files from the Library 1 3 2 5 4 6 The File Type selector. (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Samples: (.wav, .aiff) ► Click the desired icon in the File Type selector to display only the files of that type in the Result list. → The selected icon is highlighted and the files are filtered accordingly.
Browser Searching and Loading Files from the Library The Content selector. ► Click the NI icon to search the factory content, or click the User icon to search the user content. Choosing the Factory or User Content using the Controller On your controller in Browse mode: ► At the top right of the left display, press Button 4 (USER) to browse the user content (button lit and USER label highlighted) or the factory content (button off and USER label not highlighted).
Browser Searching and Loading Files from the Library TYPES and MODES filters for the Massive Threat bank of the MASSIVE Plug-in. ► Click the desired tags in the tag filter to select them and limit the search to the files marked with them. Click the selected tags again to deselect them and broaden the search. Tags for Projects, Groups, Sounds, and Samples: 3 Type Levels For Projects, Groups, Sounds, and Samples, tags are structured into three hierarchical levels globally called Types.
Browser Searching and Loading Files from the Library ▪ You have already selected the Maschine product in the Product selector, and the Maschine 2.0 Library bank of this product (for more information on this, see section ↑3.2.3, Selecting a Product Category, a Product, a Bank, and a Sub-Bank). For now the TYPES filter shows only top-level tags: ▪ In order to find a shaker, you first select the Drums Type from the TYPES filter.
Browser Searching and Loading Files from the Library ▪ Now imagine that you have loaded an acoustic shaker Sample and want to find a Sample for another drum instrument, e.g., a tom: You leave the Drums tag selected at the top level of the TYPES filter and directly go to the second level, where you select Tom instead of Shaker. As you select Tom, the whole set of Sub-Types underneath (third level) will be replaced with the Sub-Types of the Tom tag.
Browser Searching and Loading Files from the Library If you don’t select any tag in the TYPES or the MODES filter, the Result list will include all files satisfying any of their tags. Selecting Multiple Tags from the Same Level In both TYPES and MODES filter you can select multiple tags from the same level: 1. Hold [Shift] on your computer keyboard and click two tags at a particular level to select these tags and all tags in-between. 2.
Browser Searching and Loading Files from the Library Highlighted triangle next to the Attributes (TYPES and MODES). 3.2.6.1 Selecting Type and Mode Tags on the MASCHINE MK3 Controller On your controller in Browse mode: ► Turn Knob 5–7 under the right display to select tags at the three levels of the tag filter. Turn a Knob at full left to remove any particular selection at this level (i.e. to select all items at this level).
Browser Searching and Loading Files from the Library Selecting Type and Mode tags on your controller (here for Instrument presets). ▪ When browsing Projects, Groups, Sounds or Samples, Knob 5–7 allow you to select Type tags in the three hierarchical levels. ▪ When browsing Instrument or Effect presets (as in the picture above), Knob 5 and 6 allow you to select a Type and a Sub-Type, respectively; Knob 7 allows you to select a Mode. 3.2.
Browser Searching and Loading Files from the Library The left display, here when browsing Effects: Selecting the Creative Effects category via Knob 1 (on the left), the 2.0 Library bank via Knob 3 (in the middle), and all sub-banks via Knob 4 (on the right). Like in the software, each of these lists includes an All… entry at the top allowing you to deselect any selected item. Turn the corresponding Knob at full left to select this entry.
Browser Searching and Loading Files from the Library 3.2.8 Performing a Text Search In the Search field you can enter your search query. The Search field. ► Click in the Search field and type the desired text to limit the results to files containing this text. The search will be performed on the file paths, the file names, the products/banks/sub-banks, the tags, and the properties directly as you type. If you want to search for a combination of two words (e.g.
Browser Searching and Loading Files from the Library The Result list showing kicks from the MASCHINE Library. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. The Result list allows you to: ▪ Select the desired file(s). ▪ Load the selected file(s) into your Project (or load another Project). ▪ Delete the selected file(s) from your hard disk and from the Library. ▪ Navigate to the selected file(s) in your operating system.
Browser Searching and Loading Files from the Library To select adjacent files in the list, do the following: ► Hold [Shift] on your computer keyboard and click two files in the Result list to select these files and all files in-between. To select distant files in the list, do the following: ► Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select. Loading Files via Double-Click Double-clicking one of the matches will load the respective file.
Browser Searching and Loading Files from the Library ▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new Zone will be created for that Sample. See section ↑16.5.7, Adding Samples to the Sample Map for more information. Drag and drop of Groups and Sounds is possible only in Arrange view.
Browser Searching and Loading Files from the Library ◦ If you drop the Effect presets onto a Group in the Group List or onto a Sound in the Sound List, they will be appended to the existing Plug-ins in the Plug-in List of that Group or Sound. ◦ If you drop the Effect presets between two existing Plug-ins in the Plug-in List of any channel, they will be inserted between these two Plug-ins.
Browser Additional Browsing Tools → The file is deleted from the MASCHINE Library and from your hard disk. When browsing factory content, the Delete entry is not available in the context menu.
Browser Additional Browsing Tools The Autoload button. When Autoload is enabled, any item that you select in the Result list of the LIBRARY pane or FILES pane is automatically loaded into the focused Group or Sound slot or into the selected Plug-in slot, replacing any content currently in that location. This allows you to listen to this item in context with the rest of your Project while it is playing. Autoload is not available when browsing Projects.
Browser Additional Browsing Tools 3.3.2 Auditioning Instrument Presets When you are browsing Instrument presets, a Prehear button and Prehear Volume slider appear next to the Autoload button. The Prehear controls. ► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear. When Prehear is enabled, you can directly hear Instrument presets as you select them in the Result list of the LIBRARY pane or FILES pane.
Browser Additional Browsing Tools ▪ In Pad Mode, pressing the highlighted pad allows you to also audition the Instrument preset again. ▪ To load the Instrument preset, press the 4-D encoder or Button 8 (LOAD). When you disable Prehear, the playback of any Instrument preset still being pre-listened is stopped. The Prehear signal is sent to the Cue bus of MASCHINE. For more information on the Cue bus, see section ↑12.2.6, Using the Cue Bus.
Browser Additional Browsing Tools Auditioning Samples using the Controller When browsing Samples on your controller: ► Press SHIFT + Button 8 (PREHEAR) to enable/disable the Prehear function. When Prehear is enabled: ▪ The Sample selected in the result list can be triggered from the pad of the focused Sound or from any pad without being loaded into that Sound. ▪ Pressing any other pad triggers its Sound without changing the focus.
Browser Additional Browsing Tools ▪ + PATTERNS button disabled: Groups will be loaded without their Patterns. This allows you to load another set of Sounds while keeping your current Patterns. Notably, this can be very useful to try another drum kit with your current Patterns. +PATTERNS is only available when browsing Groups.
Browser Using Favorites in the Browser ► Click the Information button (showing a little “i”) next to the EDIT button in the right part of the Control bar to display information on the file(s) selected in the Result list. → A box appears above with various information on the selected file(s): File Format, Date modified, File Size, Type, as well as the Author and Vendor properties, if any (see section ↑3.5, Editing the Files’ Tags and Properties).
Browser Using Favorites in the Browser ▪ Favorites are persistent: If a file location is rescanned or deleted and later added again to the database, all files retain their favorite tags. The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass.
Browser Using Favorites in the Browser 1. Click on the Filter Favorites control next to the search field to filter the results by Favorites: 2. The Filter Favorites control is now lit and the results list shows all Favorites that match the selected search criteria: Adding an Item to the Favorites List To add an item to the Favorites, follow the instructions below: 1. Place the mouse cursor over an entry in the results list to show the Set Favorite icon.
Browser Using Favorites in the Browser 2. Click on the Set Favorite icon to add the corresponding item to the Favorites. → The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name: You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set Favorites icon will appear as soon as you place the mouse cursor over the entry.
Browser Using Favorites in the Browser 1. Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. 2. The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view and add Favorites directly using your controller.
Browser Using Favorites in the Browser 2. Press the Button 7 to activate the Favorites filter. 3. To filter the list of Favorites, use knobs 5 to 8. → The Favorites filter is now activated and the results list shows all Favorites that match the search criteria: Adding an Item to the Favorites To add an item to the Favorites using follow the instructions below: 1. Press the BROWSER button. 2. Press Button 1 or 2 to select the type of item you want to set as a Favorite. 3.
Browser Editing the Files’ Tags and Properties → The item is added to the Favorites, indicated by the Favorite icon next to its name: Removing an Item from the Favorites To remove an item from the Favorites use the following instructions: 1. Press the BROWSER button. 2. Turn the Control encoder to select the item you want to remove from the Favorites list. 3. Press SHIFT + Button 7 to remove the selected item from the Favorites list. → The item is removed from the Favorites list. 3.
Browser Editing the Files’ Tags and Properties changes to the selected files, or click the lit EDIT button again to cancel you changes and close the Attribute Editor. See section ↑3.2, Searching and Loading Files from the Library for more information on the LIBRARY pane. ▪ When importing folders to the MASCHINE Library from the Browser’s FILES pane, clicking IMPORT at the bottom right of the Browser automatically opens the Attribute Editor so you can tag the files being imported.
Browser Editing the Files’ Tags and Properties You can adjust the overall height of the Attribute Editor by dragging its upper border. The number of items selected appears in yellow in the upper left corner of the Attribute Editor. Displaying Attributes of Factory Files When browsing in the LIBRARY pane, if the files selected in the Result list are factory files (i.e.
Browser Editing the Files’ Tags and Properties 3.5.3 The TYPES and MODES Pages The TYPES and MODES pages display and let you modify the tags assigned to the file(s) selected in the Result list above. ▪ The TYPES page is available for all file types when opening the Attribute Editor both from the LIBRARY pane and the FILES pane.
Browser Editing the Files’ Tags and Properties Displaying Tags ▪ In both TYPES and MODES pages, tags assigned to the selected files are marked with a check mark right of their name: ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right. In each column only one tag can be selected. The selected tag is highlighted: Assigning Tags ► Click the empty check box right of the desired tag name to assign this tag to the selected files.
Browser Editing the Files’ Tags and Properties In the TYPES page, if you uncheck a tag for which some Sub-Type tags were selected in the columns on the right, these will automatically unassigned as you unassign their parent tag. Creating New Tags You can also create your own tags both in the TYPES and MODES pages: ► To create a new tag in any column, click the “+” symbol at the bottom of the column, enter the desired tag name with your computer keyboard and press [Enter] to confirm.
Browser Loading and Importing Files from Your File System ▪ Vendor: Use this field to indicate the manufacturer of the selected files. Click the downpointing arrow on the right to quickly select any Vendor attribute already in use in other files of the Library. ▪ Author: Use this field to indicate the author of the selected files. Click the down-pointing arrow on the right to quickly select any Author attribute already in use in other files of the Library.
Browser Loading and Importing Files from Your File System 1 2 3 4 5 6 The elements of the FILES pane. (1) FILES tab: Click the FILES tab to open the FILES pane described here. (2) Favorite bar: Displays all your Favorites. Click any Favorite to directly jump to that particular path and display its content in the Result list (5). See section ↑3.6.2, Using Favorites. (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system.
Browser Loading and Importing Files from Your File System (4) Recent Locations button: Click this button to see a list of the last visited locations and quickly jump any of them. See section ↑3.6.4, Navigating to Recent Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the Location bar (3). Only MASCHINE-compatible files are displayed. See section ↑3.6.5, Using the Result List.
Browser Loading and Importing Files from Your File System ► Click any Favorite in the Favorite bar to jump to that location. → The selected location is loaded in the Location bar and its content appears in the Result list.
Browser Loading and Importing Files from Your File System The Location bar. The Location bar provides following tools: ▪ Up arrow: Click the Up arrow on the left to go one level up in your file system.
Browser Loading and Importing Files from Your File System The Recent Location button. The last 10 locations you have visited are stored by MASCHINE and available here: ► Click the Recent Location button and select any recently visited location from the list. → This location is loaded in the Location bar and its content displayed in the Result list. 3.6.
Browser Loading and Importing Files from Your File System The Result list of the FILES pane. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. In front of each file, an icon indicates the type of the file: Icons for various file types.
Browser Loading and Importing Files from Your File System ► Double-click a folder to display its content. To return to the previous folder or to select any folder outside the folder currently displayed, use the various tools located above the Result list: ▪ Favorites: ↑3.6.2, Using Favorites. ▪ Location bar: ↑3.6.3, Using the Location Bar. ▪ Recent Locations button: ↑3.6.4, Navigating to Recent Locations.
Browser Loading and Importing Files from Your File System The context menu in the Result list of the FILES pane (Windows depicted). Following commands are available: Command Description Add to Favorites (folders only) Adds the selected folder to your Favorites. See section ↑3.6.2, Using Favorites for more information. Import to Library (folders only) Imports the selected folder(s) into the Library. See section ↑3.6.5, Using the Result List for more information.
Browser Loading and Importing Files from Your File System For this you will have to import the files into the Library first. Importing files does not mean they will be moved from the directory they currently reside in, they will only be referenced by the Browser. That’s why whenever you move files, make sure to update the paths to their respective directories in the Library page of the Preferences panel, as described in section ↑2.6.4, Preferences – Default Page.
Browser Locating Missing Samples thermore, the paths of the imported folders are added to the list of user libraries in the User pane of the Library page in the Preferences panel — see section ↑2.6.4, Preferences – Default Page for more information on this. If the folder(s) you are importing contain different types of files (e.g., Samples, Sounds, and Groups), the various imported files will be available by selecting the corresponding types in the File Type selector (see section ↑3.2.
Browser Locating Missing Samples The Missing Sample dialog allows you to locate missing Samples. Sounds referencing missing Samples are marked with an exclamation mark. Additionally, their Groups are also marked with an exclamation mark when selected. The Missing Sample dialog shows you which Sample cannot be found. Three buttons at the bottom of the dialog let you choose between following actions: ▪ IGNORE: Click this button to continue loading your Project without locating the missing Sample.
Browser Using Quick Browse The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing. 1. Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound. 2. Select Find Missing Samples from the Sound slot’s context menu to open the Missing Sample dialog again and locate missing Samples for that Sound.
Browser Using Quick Browse Samples (given that the MASCHINE Library already has several hundreds of kick Samples, this may take a considerable amount of time). With Quick Browse you can restore the query with just one click. Quick Browse is available for Samples, Plug-ins presets (Instruments and Effects), Sounds, Groups.
Browser Using Quick Browse ◦ If a Sampler Plug-in is selected, it will recall the search query used for the Sample loaded in that Sampler. If several Samples are loaded in the Sampler, it will recall the search query for the Sample in the selected Zone in the Zone List.
Browser Using Quick Browse 1. Press PLUG-IN to enter Control mode and access your Plug-ins. 2. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want to recall the search query — see section ↑2.3.7, Focusing on a Group or a Sound and ↑2.3.8, Switching Between the Master, Group, and Sound Level. 3. In this channel, select the desired Plug-in (for a Sample, select the Sampler Plug-in in which it is loaded) — see section ↑2.3.
Browser Using Quick Browse Quick Browse from Browse Mode on the Controller You can also access Quick Browse from the Browser on your controller. This notably allows you to perform Quick Browse on Sounds and Groups as well: 1. Press PLUG-IN to enter Control mode. 2. If you want to trigger Quick Browse for a Group or a Sound, set the focus to this Group or Sound — see section ↑2.3.7, Focusing on a Group or a Sound. 3.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 4 Managing Sounds, Groups, and Your Project This chapter explains how to handle the various objects that structure any MASCHINE Project: Sounds, Groups, and the Master. 4.1 Overview of the Sounds, Groups, and Master In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to the highest: ▪ Sounds are played by the pads. They are loaded into Sound slots.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 1 2 The Group List (1) and the Sound List (2) in the Arrange view of the software. 4.1.1 The Sound, Group, and Master Channels From a routing point of view, each Sound, each Group, and the Master represents a distinct channel in MASCHINE. The channels of the 16 Sounds in a Group are mixed together and sent to the Group channel, where their sum will be processed by the Group’s Plug-ins, if any.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master When the software is in Mix view, Sounds, Groups, and the Master are represented by channel strips in the Mixer. This view provides you with an intuitive control on both the audio and MIDI routings of any Sound, Group, and the Master. Please refer to section ↑12.2, The Mixer for more information. The Mixer displaying the channel strips for all Sounds in a Group. 4.1.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound slots between other slots containing Sounds), depending on how you prefer to play your Sounds from your pads. You cannot create Sound slots, but instead you can load/unload Sounds to/from the 16 existing Sound slots in each Group.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ The selection, on the other hand, determines what will be affected by your actions (e.g., adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the Sound List) is implicitly selected — nothing special here: This just means that the Sound whose parameters are currently displayed will be indeed affected by the changes you do on these parameters.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ If you set the focus to a Sound or Group which is already included in the current selection, the focus is moved to this new Sound or Group but the selection is preserved. This notably allows you to check the parameters of any selected Sound or Group while keeping the ability to modify parameters for the entire selection.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the common keyboard shortcuts of your operating system: in the Sound List or the Pad view for Sounds, and in the Group List for Groups. Following actions are available: Action Function Selecting Objects (Sounds or Groups) Click unselected object Selects the object and sets the focus to it.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ► Press and hold SELECT to enter Select mode. You can also press SELECT + Button 1 to pin this mode and make it permanent. → You are ready to select more than one Sound or Group. Selecting Sounds and Groups via the Select mode. You have following selection tools at your disposal: Selection Tool Description Pads Press any pad to set the focus to that particular Sound slot.
Managing Sounds, Groups, and Your Project Managing Sounds Selection Tool Description Button 6 (NONE) Deselects all Sounds in the current Group except the focused Sound. Button 8 (MULTI) Enables/disables the multiple selection mode. Toggling this option does nothing to the current focus nor selection but changes the behavior of the selection process — see below.
Managing Sounds, Groups, and Your Project Managing Sounds The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button. ► Click the Pad View button to show or hide the Pad view. → The Pad view replaces the Sound List on the left of the Pattern Editor. In the Pad view, each cell represents a pad on your controller and corresponds to a Sound slot in the current Group.
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑3.8, Using Quick Browse for more information. 4.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the software.
Managing Sounds, Groups, and Your Project Managing Sounds ► Press SELECT + the pad containing the desired Sound. → The Sound is focused without being triggered. 4.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s or Sample’s name. You can also rename Sound slots manually.
Managing Sounds, Groups, and Your Project Managing Sounds 1. Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List or in the Pad view and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Sound is highlighted. 2. Select the desired color in the Palette. You can also choose to set the Sound back to the default color corresponding to its position in the list by selecting Default in the Color Palette.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ If the selected Sounds have the same color setting (a particular color or the default color), this color is highlighted in the Color Palette. ▪ If the selected Sounds have different color settings, no setting is highlighted in the Color Palette. When you select a new color setting from the Color Palette it is applied to all selected Sounds. By default Sounds inherit the color of their Group.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save from the context menu: → Your modifications are saved to the Sound file. Even if you don’t save a Sound individually, its current settings will still be saved with your Project. But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and Projects.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save As… from the context menu: A Save Sound dialog appears. By default, the Sound file inherits the name of its Sound slot and it will be saved in your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.4, Preferences – Default Page for more information). 1.
Managing Sounds, Groups, and Your Project Managing Sounds In the software, Sounds are copied without their note content in the Pattern. To include the note content in the copying operation, use DUPLICATE on your controller (see below)! To copy and paste Sounds in the software: 1. Right-click (on macOS: [Ctrl]-click) the Sound slot (in the Sound List or in the Pad view) containing the Sound you want to copy. 2. In the context menu, choose Copy to copy the Sound. 3.
Managing Sounds, Groups, and Your Project Managing Sounds The copying procedure for multiple Sounds is as follows: When you copy a selection of Sounds, they are both placed into the clipboard and kept in the Sound List. The pasting procedure for multiple Sounds is as follows: ▪ When you paste a selection of Sounds onto a Sound slot, the pasted Sounds replace the current Sound in that slot and in the following slots — if the last Sound slot is reached, the remaining copied Sounds won’t be pasted at all.
Managing Sounds, Groups, and Your Project Managing Sounds 2. If you want to duplicate a Sound including its Pattern content, enable the +EVENTS option (Button 5). 3. Press the pad of the Sound you want to copy. The pad of the Sound starts blinking. 4. Press the pad of the target Sound slot (this can also be in another Group, in this case first press the desired Group button).
Managing Sounds, Groups, and Your Project Managing Sounds 2. While holding the mouse button, drag your mouse toward the desired location in the Sound List or in the Pad view. As the mouse cursor moves an insertion line appears at the potential places where you can drop the Sound slot(s). 3. When the insertion line appears at the desired location in the Sound List or in the Pad view, release the mouse button. → Each Sound takes its new place in the Group.
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.8 Resetting Sound Slots Resetting a Sound slot will remove the Sound it contains and put all its settings (Channel properties, name, color…) back to their default values. You can select multiple Sound slots to reset them all at once! See ↑4.1.3, Selecting Multiple Sounds or Groups for more information.
Managing Sounds, Groups, and Your Project Managing Groups → 4.3 The Sound is removed from the pad and the pad turns off. Managing Groups This section describes the global editing functions available for Groups.
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit. 4.3.1 Creating Groups Creating a Group will add a new empty Group at the end of the Group List. You can then fill this Group with the Sounds of your choice.
Managing Sounds, Groups, and Your Project Managing Groups Creating Groups on Your Controller On your controller, existing Groups are indicated by the lit Group buttons A–H: ▪ The focused Group is indicated by the fully lit Group button. ▪ The other Groups of your Project are indicated by half-lit Group buttons, each Group button showing the color of the corresponding Group.
Managing Sounds, Groups, and Your Project Managing Groups 4.3.2 Loading Groups You can load a readymade Group from the Browser or from your operating system. The Group can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Group you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Groups ▪ You can browse your MASCHINE Library for the desired Group. For more information on how to do this, please refer to section ↑3.2, Searching and Loading Files from the Library. ▪ Alternatively you can recall the search query that was used to find the Group currently loaded in the focused Sound slot. See section ↑3.8, Using Quick Browse for more information. 4.3.
Managing Sounds, Groups, and Your Project Managing Groups 1. Right-click ([Ctrl]-click on macOS) the desired Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Group is highlighted. 2. Select the desired color in the Palette.
Managing Sounds, Groups, and Your Project Managing Groups 4.3.5 Saving Groups You can save your Groups as individual files (extension “.mxgrp”). This can be only done in the software.
Managing Sounds, Groups, and Your Project Managing Groups You cannot save changes to factory files — these files are read-only. If you run the Save command on a factory file, it automatically turns into the Save As… command: a Save Group dialog opens and lets you save your modified Group to your user library. See next paragraph for more details. The same happens with Groups you have built from scratch.
Managing Sounds, Groups, and Your Project Managing Groups The Group will be added to the Library and is ready to be tagged in the Browser — see section ↑3.5, Editing the Files’ Tags and Properties for more information on this. You can also save a Group together with all the Samples used in this Group. This can be useful to use a drum kit on another computer or share it with other users. See section ↑4.4.1, Saving a Group with its Samples for more information. 4.3.
Managing Sounds, Groups, and Your Project Managing Groups 3. Right-click (macOS: [Ctrl]-click) any Group in the Group List and select Paste from the context menu to replace that Group with the copied one. If you want to paste the Group without affecting the existing Groups, first click the “+” under the last Group to create a new empty Group and paste the Group there. → All parameters of the Group will be copied. The Group previously in that position in the Group List will be replaced.
Managing Sounds, Groups, and Your Project Managing Groups ▪ When you paste a selection of Groups onto an existing Group, the pasted Groups replace that Group and the following Groups. Example: If you paste the Groups A1 and B1 onto the Group E2, the duplicates of A1 and B1 will replace the Groups E2 and F2, respectively (if, say, F2 didn’t exist it is automatically created).
Managing Sounds, Groups, and Your Project Managing Groups 4. Press the Group button of your target Group (this can also be in another Group bank, in this case first press Button 3/4 to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white Group button after the last colored Group button to create the new Group and automatically paste the copied Group there.
Managing Sounds, Groups, and Your Project Managing Groups 3. When the insertion line appears at the desired location, release the mouse button. → The Group takes its new place in the Group List. This new place is also mirrored on the pads of your controller. 4.3.8 Deleting Groups Deleting a Group will remove it from the Group List. It is not possible to have a Project without any Groups; attempting to delete the last remaining Group in a Project will simply reset the Group to the default values.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Deleting a Group. Deleting a Group on Your Controller On your controller in Control mode, do the following to delete a Group: ► To delete a Group, hold SHIFT + ERASE and press the Group button of the Group you want to delete. → The Group is removed. All following Groups are shifted left to fill the gap. 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 4.4.1 Saving a Group with its Samples Sometimes it is useful to have the ability to save a Group with its Samples outside of the MASCHINE Library. If you want to take a Group to another studio or if you want to backup or share a custom drum kit with all the related files, this comes in handy. To save a Group with its Samples: 1.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Controls Description Group Displays the name and location of the Group file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Group file inherits the name of the Group in the Project and it will be saved in the “Groups” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 1. Choose Save Project with Samples… from the File menu or the File submenu in the MASCHINE menu: You will be presented with the Save Project with Samples panel: 2. In this panel, adjust the settings (see table below) and click Save to confirm or Close to cancel the operation.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Project Displays the name and location of the Project file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Project file inherits the name of the Project and it will be saved in the “Projects” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.4, Preferences – Default Page for more information).
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio To export audio from MASCHINE: 1. Set the Loop Range to the region that you want to export. 2. Choose Export Audio… from the File menu or from the File submenu in the MASCHINE menu. You will be presented with the Export Scenes as Audio panel (see picture below). 3. Select the Range and Source and then the destination (see description below). 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Export Scenes as Audio panel. The following parameters are available in the Export Audio dialog, which is split into three distinct sections: Source, Options, and Destination. Source Section The Source section allow you to define exactly what will be exported.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Range Set the range for the audio you want to export. The options here will differ depending on whether MASCHINE is in Ideas view or Arrangement view. In Ideas view the following options are available: All: Select this option to export all Scenes as audio. Selected: Select this option to export the selected Scene as audio.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description the desired entries in the list to include/exclude the corresponding Sounds. Only Sounds with a check mark will be exported. The check box of Group entries allow to check/uncheck all Sounds of the Group at once. If some of the Sounds only are checked in a Group, the Group is “dimmed checked.” Options Section The Options section allows you to make settings related to the quality of the audio export.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Select from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz. Bit Depth Select from three different bit depths (or bit resolutions) for the exported audio file(s): 16 Bit is the bit depth of the audio CD format. 24 Bit is well suited for mastering.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats ▪ If Group Outputs is selected in the Output menu the audio files will be named as follows: [Project name] - [Group order number] [Group index (letter + number)] [Group name] [BPM].wav/aiff The Group order number is a two-digit number indicating the “order of appearance” of the Group in the Group List. This ensures that an alphabetical listing of the exported files will reflect the structure of your Project.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats A REX file loaded in the first Sound slot. 4.5.2 Importing MPC Programs to Groups MASCHINE allows you to import Drum program files (.PGM and .AKP) from the Akai MPC series to Groups. Supported models include the MPC4000, MPC3000, MPC2000, MPC500, MPC1000 and the MPC2500.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter 1000, 2500 0 (XL) 0 Voice Overlap x − x x Polyphony Filter1 Type x − − − Filter Type Filter1 Frequency x − x x Filter Cutoff Filter1 Resonance x − x x Filter Resonance Filter1 Velocity to Frequency x − − − Velocity Cutoff Mixer Level x x x x Track Level Mixer Pan x − x x Track Pan Velocity to Level x − − − Velocity to Vo
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 2. Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel: 3. In the Input section of the panel, select one of the import options (see table below). 4. Click OK to start the import procedure (or Cancel to close the panel without importing anything).
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Control Description Import All Banks Select this to import all Banks of the MPC Program file. Each Bank will be loaded into a separate Group. Import One Bank Select this if you only want to import a single Bank. Use the drop-down menu to the right to select which Bank you want to import. The list below shows you a preview of the sounds in the selected MPC Bank.
Playing on the Controller Adjusting the Pads 5 Playing on the Controller This chapter describes the numerous features available in MASCHINE to adjust and enhance your playing, both during live performances and when recording Patterns. 5.1 Adjusting the Pads You can optimize and fine-tune the way the pads of your controller react to your playing: ▪ Choose a pad mode that best fit your playing needs: ↑5.1.1, The Pad View in the Software.
Playing on the Controller Adjusting the Pads When the Pad View button is enabled, the Pad view replaces the Sound List below: The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group. The focused pad is fully lit; other pads containing a Sound are dim lit; pads without any Sound are off. The following actions are available in the grid: ▪ Click any pad to select the corresponding Sound slot.
Playing on the Controller Adjusting the Pads Parameter Description Key Adjusts the base key for the selected pad. See section ↑5.1.3, Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section ↑5.1.4, Using Choke Groups below. Link Configures Pad Link for the selected pad. See section ↑5.1.5, Using Link Groups below. 5.1.2 Choosing a Pad Input Mode By default, your pads play all Sounds of the selected Group — we call this Group mode.
Playing on the Controller Adjusting the Pads If your controller is in Group mode (default mode), the right display contains a mapping matrix showing the name and color of the Sound played by each pad. You can adjust the base key for the selected pad by pressing buttons 5-8. Parameter Description OCTAVE-, OCTAVE+, SEMITONE-, and SEMITONE+ (Button 5–8) Adjust the base key for the selected pad. See section ↑5.1.3, Adjusting the Base Key for details.
Playing on the Controller Adjusting the Pads focused Sound). The pitch of the played note is defined by the base key (see section ↑5.1.3, Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT + FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using the Keyboard Mode The KEYBOARD button located above the pads activates and deactivates Keyboard mode. In this mode your pads play the focused Sound at 16 different pitches.
Playing on the Controller Adjusting the Pads To shift the scale in octaves use Button 5 (octave down) or Button 6 (octave up). You can also shift the scale in semitones: use Button 7 (semitone down) and Button 8 (semitone up).
Playing on the Controller Adjusting the Pads The base key also affects the pitch of events created via the step sequencer. See section ↑10.3.1, Step Mode Basics for more information on this. Adjusting the base key only affects the notes played by the pads of your controller. It does not affect the notes recorded in your Patterns! To adjust the key of notes in Patterns, please refer to section ↑10.4, Editing Events.
Playing on the Controller Adjusting the Pads This is also true when adjusting the parameter from your controller. To change the base key of the selected pad(s) / Sound slot(s) on your controller: 1. Hold the PAD MODE button to enter Pad Mode. On the right display, the key indicated for pad 1 (in the bottom left corner) is the current base key. 2. Press Button 5 (OCT-) / 6 (OCT+) to adjust the base key by octaves, or Button 7 (SEMI-) / 8 (SEMI+) to adjust the base key by semitones.
Playing on the Controller Adjusting the Pads To assign the selected Sound slot(s) to a Choke group and set its/their Choke mode (Master or Slave), do the following: 1. Click the Pad View button above the Sound List in the Pattern Editor to show the Pad view for the focused Group. 2. In the Choke section click the Group value and select the desired group 1–8 from the list or choose None (default setting) to remove the Sound from its current Choke group. 3.
Playing on the Controller Adjusting the Pads This is also true when adjusting the parameter from your controller. To assign the selected pad(s) / Sound slot(s) to a Choke group and set its/their Choke mode on your controller: 1. Hold the PAD MODE button to enter Pad Mode. 2. If necessary, press the Page Left button to switch to the first Parameter page of the Pad Mode. 3.
Playing on the Controller Adjusting the Pads You can select multiple Sound slots and quickly assign them all to a particular Link group at once! To assign the selected Sound(s) to a Link group and set its/their Link mode (Master or Slave), do the following: 1. Click the Pad View button above the Sound List in the Pattern Editor to show the Pad view for the focused Group. 2.
Playing on the Controller Adjusting the Pads Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left). When you click it and select a new Choke or Link group from the list (middle), this new group is applied to all selected Sounds. This is also true when adjusting the parameter from your controller. To assign the selected pad(s) / Sound slot(s) to a Link group and set its/their Link mode on your controller: 1.
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds 5.2 Adjusting the Key, Choke, and Link Parameters for Multiple Sounds In the software, if you select multiple Sounds with different Key, Choke and/or Link values, the corresponding parameters in Pad view now display MULTI. On your controller in Pad Mode, the corresponding parameters now display (MULTI). Moreover, you can adjust these parameters for the selected Sounds as described below.
Playing on the Controller Adjusting the Base Key Adjusting the Choke or Link Parameter for Multiple Sounds with different Choke or Link Values ► Click the MULTI label next to Choke or Link and select the desired value from the list to set all selected Sounds to that same Choke or Link group, respectively. This also applies to the Master/Slave setting next to it. Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left).
Playing on the Controller Playing Tools Adjusting the base key only affects the notes played by the pads of your controller. It does not affect the notes recorded in your Patterns! To adjust the key of notes in Patterns, please refer to section ↑4.1.3, Selecting Multiple Sounds or Groups. You can select multiple pads and quickly change the base key for all of them at once! See section ↑10.4, Editing Events to know how to do this.
Playing on the Controller Playing Tools ▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑5.4.1, Mute and Solo. ▪ Choke All Notes allow you to cut all playing audio: ↑5.4.2, Choke All Notes. ▪ Groove allows you to give a shuffling flair to individual Sounds/Groups or to your entire Project: ↑5.4.3, Groove. ▪ Hardware Shortcuts give you a quick access to the most important parameters of each channel (Sound, Group, and Master): ↑5.4.
Playing on the Controller Playing Tools To momentarily mute all audio from all Sounds and Groups at once, please refer to section ↑5.4.2, Choke All Notes. Mute and Solo in the Software Soloing a Sound ► To solo a Sound, right-click (on macOS: [Ctrl]-click) the number on the left side of the Sound slot in the Pattern Editor. Soloing the first kick Sound. ► To unsolo a Sound, right-click (on macOS: [Ctrl]-click) the number again.
Playing on the Controller Playing Tools Muting a Sound ► To mute a Sound, click the number on the left side of the Sound slot in the Pattern Editor. Muting a Sound. ► To unmute the Sound, click the number again. By default, the Mute on Sounds is an event mute: events for muted Sounds are not triggered, but the audio coming from previous events might still be audible (reverb tail, etc.).
Playing on the Controller Playing Tools Mute and Solo on Your Controller To enter solo mode on your controller: The Solo mode on the controller. 1. Press and hold SOLO to enter Solo mode. You can also press SOLO + Button 1 to pin this mode and make it permanent. 2. Solo Sounds by pressing their pads, and solo Groups of the current Group bank by pressing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group bank, respectively.
Playing on the Controller Playing Tools 2. Mute Sounds by pressing their pads, and mute Groups of the current Group bank by pressing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group bank, respectively. In both Solo and Mute modes you will note the following: ▪ On your controller, the unmuted pads and Group buttons are fully lit, while the muted ones are dim lit (and the empty ones are off).
Playing on the Controller Playing Tools ► Press SHIFT + MUTE to choke all playing notes. Choke All Notes can be useful in various situations: ▪ as a creative tool in a live performance, e.g. to create stutter beaks, ▪ as a workflow aid, to stop long one-shot Samples that still continue playing after you have stopped the sequencer, ▪ as a first panic button, if you are not sure where in your Project a particular sound is coming from, and you want to get rid of it.
Playing on the Controller Playing Tools The Groove properties for a Sound in the software. The Groove properties for a Sound on the controller. Controls Description SWING Section Amount Adjusts the amount of swing, i.e. the amount by which some events are shifted. At 0 % events are not shifted. Raise the Amount value to increase the strength of the swing. Cycle Determines on what musical resolution the groove is applied. This directly affects which events will be shifted.
Playing on the Controller Playing Tools The following picture shows you how this rhythm would sound with the following settings: ▪ Top: Amount at 0.0 % (no groove). ▪ Middle: Amount at 100.0 % and Invert off. ▪ Bottom: Amount at 100.0 % and Invert enabled. This is how the same regular rhythm would be heard with various groove settings.
Playing on the Controller Playing Tools Volume and Velocity Shortcuts The VOLUME button. In Pad Mode, Keyboard mode or Chords mode: 1. Press the VOLUME [Velocity] button. 2. To change the output level of the Master (i.e. the overall output level of MASCHINE), simply turn the 4-D encoder. 3. To change the output level of a Group, hold its Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4.
Playing on the Controller Playing Tools In the software you can also adjust the output level of the Master via the Master Volume slider in the Header: The Master Volume slider in the software’s Header. To reset the output level of the Master to 0 dB, double-click the Master Volume slider. Swing and Position Shortcuts The SWING button. In Pad Mode, Keyboard mode or Chords mode: 1. Press SWING [Position] button. 2. To change the groove of the Master, simply turn the 4-D encoder. 3.
Playing on the Controller Playing Tools ► To change the position of a selected step in Step mode, hold its pad and turn the 4-D encoder. → The adjusted value is temporarily shown on the left display. To adjust the value in finer increments, press and turn the 4-D encoder (or hold SHIFT while you turn it). These shortcuts control the AMOUNT parameter in the SWING page of the Master’s, Group’s, and Sound’s Groove properties, respectively. See section ↑5.4.
Playing on the Controller Playing Tools 2. To change the tempo of the Master (i.e. the tempo of your Project), simply turn the 4D encoder. 3. To change the tune of all Sounds in a Group, hold the desired Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4. To change the tune of an individual Sound, hold its pad and turn the 4-D encoder. In Step mode: ► To change the tune of a selected step in Step mode, hold its pad and turn the 4-D encoder.
Playing on the Controller Performance Features You can also use the TEMPO button to adjust the current tempo: ► Press the TEMPO button and turn the 4-D encoder to quickly adjust the tempo of your Project. Press and turn the 4-D encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled. These shortcuts control the Tempo parameter of MASCHINE. In the software this parameter is available in the Header: The Tempo parameter in the software’s Header.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode. In this picture, blue cells represent modules sending “control” signals, i.e. triggering messages (e.g.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Group Mode The following diagram illustrates signal flow between your hits on the pads in Group mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Group mode. In this picture you will notice the following: ▪ Note Repeat takes the place of the Scale, Chord, and Arp modules between the live input on the pads and the Pattern Editor.
Playing on the Controller Performance Features 5.5.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano according to, e.g., the minor pentatonic scale without hitting a “false” pad (note) on your controller, or to play chords that always fit by hitting single pads.
Playing on the Controller Performance Features ▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g., key switches) on particular keys, these notes will not be triggered by the Scale and Chord engine. Available Scales The Scale engine is controlled via two parameters: ▪ Root Note (C3 by default): Defines both the root note of the scale and the particular key triggered by pad 1. As a direct consequence, pad 1 always triggers the root note of the selected scale.
Playing on the Controller Performance Features Scale Type Degrees (1 = Root Note) Chromatic (default) 1 #1 2 #2 3 4 #4 Major 1 2 3 4 5 6 7 Minor 1 2 ♭3 4 5 ♭6 ♭7 Harmonic Minor 1 2 ♭3 4 5 ♭6 7 Major Pentatonic 1 2 3 5 6 Minor Pentatonic 1 ♭3 4 5 ♭7 Blues 1 ♭3 4 #4 5 Japanese 1 2 ♭3 5 ♭6 Freygish 1 ♭2 3 4 5 ♭6 ♭7 Gypsy 1 2 ♭3 #4 5 ♭6 7 Flamenco 1 ♭2 3 4 5 ♭6 7 Altered 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 Whole Tone 1 2 3 #4 #5 #6
Playing on the Controller Performance Features ◦ Off: No chords will be generated. Only the notes corresponding to the pads that you hit will be played. ◦ Harmonizer: Generates chords based on the pads you hit and using notes from the selected scale, as specified by the Root Note and Scale Type parameters (see above). Use the Chord Type parameter to choose the particular notes to be used in the chord (see below). As the chord is triggered, pads of all included notes flash.
Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Major 7 4, 7, and 11 Minor 7 3, 7, and 10 Dominant 7 4, 7, and 10 Dominant 9 4, 7, 10, and 14 Minor 7♭5 3, 6, and 10 Diminished 7 3, 6, and 9 Augmented 4 and 8 Quartal 5, 10, and 15 Trichord 5 and 11 When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic, the chords are bound to the particular notes included in the specified scale.
Playing on the Controller Performance Features When Chord Mode is set to Off or Harmonizer, pads of root notes are fully lit: Type of Pad (for Selected Scale) LED in Default State LED when Pad Triggered Root notes Fully lit Flash Other pads Dimly lit Flash Note that if Chord Mode is set to Harmonizer, pads triggered as part of the chord will also flash.
Playing on the Controller Performance Features Condition Enharmonic Spelling Scale Type is set to Chromatic All C Keys C# D D# E F F# G G# A A# Scale Type is not set to C Chromatic C# D E♭ E F F# G A♭ A B♭ B Chord Mode is set to C Chord Set and Chord Type is set to Major 1-8 D♭ D E♭ E F F# G A♭ A B♭ B Chord Mode is set to Chord Set and Chord Type is set to Minor 1-8 C# D D# E F F# G G# A B♭ B C Erasing Notes When erasing notes from your controller, the not
Playing on the Controller Performance Features Like the Scale and Chord engine, the Arp engine is dedicated to Keyboard mode. The Arp engine can be seen as a melodic extension of the Note Repeat: Actually, Arp replaces and extends Note Repeat in Keyboard mode. Instead of playing repeated notes at a constant pitch you can play sequences of notes at different pitches.
Playing on the Controller Performance Features The Note Repeat mode on your controller. Even if Note Repeat is locked, it won’t be applied to your pads when your controller is displaying the SLICE page of Sampling mode. Note Repeat mode seamlessly switches to Arp mode as soon as you switch your pads from Group mode to Keyboard mode (see below): All current values (including the LOCK state) are retained.
Playing on the Controller Performance Features In Arp mode you can customize the way the notes of the played chord will be arpeggiated by adjusting following settings: Element Description LOCK (Button 2) Keeps the Arp feature enabled even when you leave Arp mode. For example, this can be useful to adjust the chord settings, switch to another Pattern, adjust Plug-in parameters, etc., while keeping arpeggios running.
Playing on the Controller Performance Features Element Description TYPE (Knob 2) Sets the sequential order of the arpeggiated notes. You can choose from following settings: Up starts from the root note and plays the notes up through the chord. Down plays the notes the other way around. Up & Down plays the notes in both directions alternatively. Order Played plays the notes in the order you pressed down the corresponding pads on your controller.
Playing on the Controller Performance Features Element Description DYNAMIC (Knob 7) Amplifies or reduces the velocity derived from the pressure you apply on each single pad you hold (Polyphonic Aftertouch). Available values range from 1% to 200%. This setting applies globally to all rate presets. GATE (Knob 8) Adjusts the ratio between the duration of the notes and the duration of the silences between them, measured as a percentage of the note value set by RATE (see above).
Playing on the Controller Using Lock Snapshots When the playback is not running, the swing is still applied to the output of Arp (Keyboard mode) or Note Repeat (Group mode). If you press PLAY on your controller, the playback starts immediately and the swing cycle is reset. 5.6 Using Lock Snapshots Lock allows you to create up to sixty-four snapshots spread across four banks of sixteen pads providing a total of up to sixty-four snapshots.
Playing on the Controller Using Lock Snapshots → The Lock snapshot is recalled and the LOCK button ceases to be highlighted. You can access your snapshot in Extended Lock mode. For more information on Extended Lock read ↑5.6.2, Using Extended Lock. If you find better settings press the LOCK button again to update the snapshot. ► Press SHIFT + FILE (Save) to save your Project. 5.6.2 Using Extended Lock Extended Lock presents an overview of all your Lock snapshots.
Playing on the Controller Using Lock Snapshots 6. Press SHIFT + LOCK (Ext Lock) to return to Extended Lock view. 7. Press button 5 UPDATE to update your snapshot. ▪ The selected snapshot is updated. Repeat the process to update other Lock snapshots. 5.6.4 Recalling a Lock Snapshot Within Extended Lock you can recall a stored Lock snapshot. To recall a Lock snapshot: 1. Press the CHANNEL or PLUG-IN button. 2. Press SHIFT + LOCK (Ext Lock) 3.
Playing on the Controller Using Lock Snapshots Element Description MORPHING MORPH Select to switch morphing ON or OFF mode. MODE TRAVEL will morph the selected snapshots without syncing to the grid. The morph will begin instantly instead of waiting until the next bar begins. The duration of the morph is set using the TIME parameter. TARGET will morph in sync to the downbeat when set to Bar, or to the selected Grid value.
Playing on the Controller Using Lock Snapshots 5.6.7 Triggering Lock Snapshots via MIDI If MASCHINE is running as a plug-in in a host environment, you can trigger and change Lock snapshots using MIDI Note or MIDI Program Change messages sent from your host to the MASCHINE plug-in.
Playing on the Controller Using Lock Snapshots 2. Click MIDI Change. 3. ▪ This opens the following dialog: ▪ Click Lock Enabled from the dialog. 4. In the submenu that opens, select the source you want to use for changing the MIDI Program Change messages. A list of connected controller names appear in the drop-down menu, or you can select None to disable the feature. 5.
Playing on the Controller Using the Smart Strip MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from the MIDI source. Corresponding Lock snapshots will not be recalled. For more information on triggering Lock snapshots using your DAW (Digital Audio Workstation), please check the Knowledge Base on the Native Instruments website. 5.
Playing on the Controller Using the Smart Strip In Pitch mode, the scale on the Smart Strip is centered, as indicated by a white LED in the middle of the Smart Strip. Sliding your finger to the left will flatten the pitch. Sliding your finger to the right will sharpen the pitch. The amount of pitch bend applied to the Sound is indicated by the LED dots above the Smart Strip. Once you lift your finger off the Smart Strip, the pitch of the sound will return to standard tuning.
Playing on the Controller Using the Smart Strip 5. Press PERFORM to enable Perform mode. 6. Slide a finger on the Smart Strip to control the parameter the Smart Strip is mapped to. → The effect will sound for the length of time your finger is held on the Smart Strip. 5.7.4 Notes Mode In Notes mode, sliding your finger on the Smart Strip plays the pads you hold one after the other.
Working with Plug-ins Plug-in Overview 6 Working with Plug-ins Plug-ins are the building blocks of all sound in MASCHINE. They can be used at all three levels of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master. This chapter includes various general or specific Plug-in topics: ▪ An overview of Plug-ins and how to handle them (↑6.1, Plug-in Overview).
Working with Plug-ins Plug-in Overview The Control area displaying the content of the Sound Kick Ordinance of the selected Sound slot 1. Sounds, Groups, and the Master can each hold any number of Plug-ins. These are stacked up in the Plug-in List, on the left of the Control area.
Working with Plug-ins Plug-in Overview ► To show the Plug-in List, click the little Plug-in icon at the far left of the Control area: In the Plug-in List, the processing order is always from top to bottom. In addition to Plug-ins, each Sound, each Group, and the Master also provide a set of global settings called Channel properties. These are described in section ↑5.4.3, Groove and in chapter ↑11, Audio Routing, Remote Control, and Macro Controls.
Working with Plug-ins Plug-in Overview Instrument Plug-ins Effect Plug-ins Internal Plug-ins Audio, Sampler, Drumsynth, Bass Synth MASCHINE internal effects Native Instruments Plug-ins VST/AU instrument plug-ins from Native Instruments’ range of products VST/AU effect plug-ins from Native Instruments’ range of products External Plug-ins Third-party VST/AU instrument plug-ins Third-party VST/AU effect plug-ins ▪ Instruments: These Plug-ins generate sound.
Working with Plug-ins Plug-in Overview ◦ Internal Effects: These are the Effect Plug-ins included with MASCHINE. To read every details about each of the MASCHINE internal effects, and how to use them, please refer to chapter ↑11, Audio Routing, Remote Control, and Macro Controls and ↑14, Effect Reference. ◦ Native Instruments: You can use all Native Instruments KOMPLETE effects installed on your computer as VST/AU plug-ins. Products from Native Instruments are tightly integrated in MASCHINE.
Working with Plug-ins Plug-in Overview 6.1.3 Loading, Removing, and Replacing a Plug-in The procedure to load a Plug-in with its default settings is common to all levels (Sound, Group, and Master) and all Plug-in types (Internal, Native Instruments, and External, as well as Instrument and Effect): 1. Set the focus to the Sound, Group or the Master where you want to load the Plug-in (see section ↑2.3.7, Focusing on a Group or a Sound).
Working with Plug-ins Plug-in Overview The Plug-in List is still empty, because we selected an empty Sound slot. The only visible element in the list is a “+” icon at the top left. 3. Click the slot with the “+” icon at the top of the Plug-in List. This opens the Plug-in menu where you can select the desired Plug-in for loading (see below for a detailed description of the entries contained in the Plug-in menu).
Working with Plug-ins Plug-in Overview Instead of using the Plug-in menu to load a Plug-in with its default settings, you can also use the Browser to load a particular preset for a Plug-in. In particular, this can come in handy to insert a new Plug-in between two existing Plug-ins of the Plug-in List. Please refer to chapter ↑3.2, Searching and Loading Files from the Library for more information.
Working with Plug-ins Plug-in Overview ► To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None at the top of the menu. → The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap. Furthermore, the Plug-in menu also allows you to replace the loaded Plug-in with another one: ► To replace the Plug-in currently loaded in a slot, open its Plug-in menu and select another Plug-in in the menu.
Working with Plug-ins Plug-in Overview Content of the Plug-in Menu The entries in the Plug-in menu differ according to the Plug-in slot from which you are calling the menu: ▪ The first Plug-in slots of Sounds accepts both Instrument and Effect Plug-ins. The entries available in their Plug-in menu are listed in the following table. ▪ All other Plug-in slots at the Sound, Group, and Master level only accept Effect Plug-ins.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Sampler (first Plug-in slot of Sounds only) The Sampler is the Internal Instrument Plug-in used to play back all Samples in MASCHINE — this essential Plug-in will be described in details in section ↑6.2, The Sampler Plug-in. Drumsynth submenu (first Plug-in slot of Sounds only) Lists the available Drumsynths: Kick, Snare, Hi-hat, Tom, and Percussion.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save As… Allows you to save the current Plug-in settings as a preset for later use. This preset will appear in the Browser. Save As Default… (only Allows you to save the current Plug-in settings as a default when a Native Instruments preset. This default preset will be recalled each time you load or External Plug-in is the Plug-in from the Plug-in menu.
Working with Plug-ins Plug-in Overview 2. Select the Sound, Group or the Master where the Plug-in is located (see section ↑2.3.7, Focusing on a Group or a Sound). 3. Move the 4-D encoder to the right to navigate to the desired Plug-in. The name of the selected Plug-in appears on the right display in the field between the arrows under Button 5 and 6. If there are no Plug-ins in the channel this will read EMPTY.
Working with Plug-ins Plug-in Overview Inserting a Plug-in To insert a Plug-in directly after the selected Plug-in slot, do the following: 1. Press SHIFT + Button 3 (INSERT). This automatically opens the Browser on your controller and locks the File Type to EFFECT (Button 1 and 2, normally used in the Browser to select the desired File Type, are here disabled). 2. Choose and load the desired Plug-in preset via the usual workflow in the Browser (see section ↑2.3.7, Focusing on a Group or a Sound).
Working with Plug-ins Plug-in Overview 6.1.4 Adjusting the Plug-in Parameters The procedure for adjusting the Plug-in parameters is common to all types of Plug-ins and all sets of Channel properties. It is described in section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area. Native Instruments and External Plug-ins only: You can also adjust the Plug-in parameters via the own user interface of the VST/AU plug-in. More on this in ↑6.2.6, Page 6: Velocity / Modwheel.
Working with Plug-ins Plug-in Overview 4. In the Plug-in List, click the icon left to the Plug-in name (keys for an Instrument Plug-in, FX for an Effect Plug-in) to bypass this Plug-in. The Plug-in does not affect the sound anymore. The icon is grayed out to indicate that this slot is now bypassed. Use the same method to unmute the Plug-in: ► To activate the bypassed slot again, click its grayed out icon. In most cases the first Plug-in slot contains an Instrument Plug-in (e.g., a Sampler).
Working with Plug-ins Plug-in Overview 6. Press SHIFT + Button 7 (BYPASS) above the right display to bypass the selected Plug-in slot. → The Plug-in is bypassed and does not affect the sound anymore. In the left display the Plug-in icon and name are grayed out.
Working with Plug-ins Plug-in Overview Moving Plug-ins Within the Plug-in List ► To move a Plug-in in the Plug-in List, click its name and drag your mouse vertically. While you are holding the mouse button, an insertion line appears at the place in the Plug-in List where the Plug-in would land if dropped. Drag your mouse until the insertion line is at the desired location, then release the mouse button to drop the Plug-in onto this new location.
Working with Plug-ins Plug-in Overview Duplicating Plug-ins Across Sounds and Groups Instead of selecting Cut in the Plug-in menu of the original slot (see above), select Copy to duplicate the Plug-in to another slot! Moving a Plug-in on the Controller On your controller in Control mode, you can move a Plug-in to another slot of the same Sound, Group or the Master. To do this: 1. Select the desired Plug-in (see section ↑2.3.
Working with Plug-ins Plug-in Overview To use this feature you must ensure all installed Native Instruments plug-ins are up-todate. Please check Service Center or log-in to your Native Instruments account to find the latest updates. 6.1.9.1 Saving Plug-in Presets Saving Plug-in presets can only be done in the software via the Plug-in menu. To access the Plug-in menu, click the drop-down arrow on the right-hand side of the Plug-in slot in the Plugin List: Opening the Plug-in menu.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save Saves your changes to the preset currently loaded. Save As… Saves the current Plug-in settings as a new preset on your hard disk. Save As Default… Saves the current settings and assignments as the default preset for the Plug-in. This default preset will be loaded with this Plug-in the next time it is opened. Remove Default Preset Removes the default preset for the current plug-in.
Working with Plug-ins Plug-in Overview You can assign tags to the Plug-in presets that you saved. This is done in the Browser in the MASCHINE software. For more information, please refer to section ↑3.5, Editing the Files’ Tags and Properties. KOMPLETE products and MASCHINE EXPANSIONS have to be updated to ensure their full integration into the MASCHINE Library. To update any Native Instruments product installed on your computer, please start the Service Center.
Working with Plug-ins The Sampler Plug-in 3. Click Remove Default Preset in the menu to remove the default preset. → The default plug-in preset is removed and the plug-in will load with its initialized settings next time it is opened. You can also use the Plug-in Manager in the Preferences panel to gain an overview of your default plug-in presets and also remove them if required. Removing the default preset for a plug-in is a software only feature. 6.
Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑10.5, Recording and Editing Modulation and ↑11.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dialog will appear and help you locate the missing Sample(s) again. Please refer to section ↑3.7, Locating Missing Samples for more information.
Working with Plug-ins The Sampler Plug-in 6.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller. Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software.
Working with Plug-ins The Sampler Plug-in Parameter Description VOICE SETTINGS Polyphony Here you can define a voice limit for the Sound, that is the maximum number of voices (notes) the Sampler can play simultaneously. Once this polyphony has been reached, triggering any additional note will kill the “oldest” note still playing (i.e. the note that was triggered first). The available values are 1, 2, 4, 8 (default), 16, 32, and 64.
Working with Plug-ins The Sampler Plug-in 6.2.2 Page 2: Pitch / Envelope Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE on the controller. Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software. Parameter Description PITCH / GATE Tune Defines the basic pitch of your Sample: turn the knob to the right for a higher pitch and to the left for a lower pitch. Start Determines the start point of the Sample.
Working with Plug-ins The Sampler Plug-in AMPLITUDE ENVELOPE The AMPLITUDE ENVELOPE section allows you to tailor your Sample in terms of its loudness over time. The Type selector. The Type selector allows you to choose from three different types of amplitude envelopes.
Working with Plug-ins The Sampler Plug-in ▪ ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control. Unlike many other hardware devices, the pads on MASCHINE are sensitive not only to being hit, but also to being held — so using the ADSR envelope, you can make the pads behave like a MIDI keyboard and sustain a note only for as long as it is held down.
Working with Plug-ins The Sampler Plug-in 6.2.3 Page 3: FX / Filter Sampler parameters – page 3 of 6: FX and FILTER on the controller. Sampler parameters – page 3 of 6: FX and FILTER in the software. FX This is a small selection of basic effects, not to be mixed up with the collection of Effect Plugins covered in depth in chapter ↑14, Effect Reference. Parameter Description FX Comp Basic compressor allowing you to give a Sound more density.
Working with Plug-ins The Sampler Plug-in Parameter Description SR SR stands for “sample rate”: you can use it to lower the original sample rate in order to make the Sound more lo-fi. Bits Allows you to lower the original bit depth of the Sound, resulting in a more rough, digital sounding lo-fi effect. FILTER The Filter selector in the FILTER section gives you access to a set of different filters.
Working with Plug-ins The Sampler Plug-in 6.2.4 Page 4: Modulation Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION on the controller. Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software. MODULATION ENVELOPE The MODULATION ENVELOPE section offers an additional envelope allowing further modification (or “modulation”) of specific Sampler parameters according to the way you play on the pads.
Working with Plug-ins The Sampler Plug-in Envelope Controls Description Decay With Decay you adjust how fast the envelope drops to the sustain level in ADSR mode; in AHD mode it is used to adjust how fast the envelope fades out. Sustain The envelope level that will be maintained as long as the note is played. Release The time for the sustain level to return to zero after the note has ended. DESTINATION This is where you define modulation targets for the modulation envelope, i.e.
Working with Plug-ins The Sampler Plug-in 6.2.5 Page 5: LFO Sampler parameters – page 5 of 6: LFO and DESTINATION on the controller. Sampler parameters – page 5 of 6: LFO and DESTINATION in the software. LFO The LFO (Low Frequency Oscillator) is another modulation source based on waveforms with different shapes. LFO Controls Description Type Here you can choose the shape of the LFO waveform. Available shapes are Sine, Tri (Triangle), Rect (Rectangle), Saw, and Random.
Working with Plug-ins The Sampler Plug-in LFO Controls Description Phase Defines the initial phase of the LFO waveform, from -0.50 to 0.50. Sync The Sync selector is used to synchronize the LFO with the tempo of your Project. If Free is selected, the LFO rate is independent of the Project tempo.
Working with Plug-ins The Sampler Plug-in 6.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller. Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters.
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Positive values shift the Sample start position later in time as you play harder, negative values shift it closer to the beginning of the Sample as you play harder. Tip: a typical example for this parameter is setting it so that the initial attack transient of a snare drum is heard only at high velocity values.
Working with Plug-ins Using Native Instruments and External Plug-ins 6.3 Using Native Instruments and External Plug-ins MASCHINE allows you to load VST/AU plug-ins from Native Instruments (Native Instruments Plug-ins) or any third-party manufacturer (External Plug-ins) and to use them like the MASCHINE Internal Plug-ins.
Working with Plug-ins Using Native Instruments and External Plug-ins MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8). When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little diagonal arrow appears left of the Parameter pages’ tabs, at the top of the Control area: The little diagonal arrow next to the Parameter pages’ tabs.
Working with Plug-ins Using Native Instruments and External Plug-ins You can also close any floating window via the common button provided by your operating system at the top left or right corner of the window. MASCHINE will always show the open floating windows of the focused Sound, Group or Master when selected.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil icon) in the Plug-in Header: Opening/Closing Plug-in Windows on the Controller On the controller, to open/close a floating window for a Native Instruments or External Plug-in do the following: 1.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The current state of the Plug-in parameters can be saved to the Browser as a preset for total recall of the Plug-in (see section ↑6.1.9, Saving and Recalling Plug-in Presets for more on this). An auto-mapped Parameter page of the Massive Plug-in in the software. An auto-mapped Parameter page of the MASSIVE Plug-in on the controller.
Working with Plug-ins Using Native Instruments and External Plug-ins Parameter pages may be assigned automatically using auto-mapping (see section ↑6.3.2, Using the VST/AU Plug-in Parameters above) or created individually via Learn mode. With Learn mode, you can create custom pages containing only the desired parameters arranged to fit your personal workflow.
Working with Plug-ins Using Native Instruments and External Plug-ins 3. Click the Pages tab in the left part of the Assignment area: → The Pages tab lights up and the Pages pane appears on its right. You are now ready to assign parameters to the Parameter pages. The Pages tab can be clicked only for Native Instruments or External Plug-ins and for the Macro properties.
Working with Plug-ins Using Native Instruments and External Plug-ins (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parameter page. (2) Section Label fields: These fields allow you to define sections of parameters within the displayed page. Double-click the field above the first parameter you want to include in the section, type the desired name for the section, and press [Enter] to confirm.
Working with Plug-ins Using Native Instruments and External Plug-ins Parameter Slots - Context Menu When the Assignment area is opened and the Pages tab is selected, a right-click on an assigned or unassigned Parameter slot’s label brings up a context menu. The parameter slots’ context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Parameter. Ctrl + R / Cmd + R Learn Activates the Learn Mode. Reset Reset the Parameter.
Working with Plug-ins Using Native Instruments and External Plug-ins Pages Name - Context Menu When the Assignment Area is opened and the Pages tab is selected, a right-click on a Page name at the top of the Parameter area opens a context menu. The Parameter pages’ context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 6.3.
Working with Plug-ins Using Native Instruments and External Plug-ins Accessing Factory Presets of Native Instruments’ Instruments/Effects Accessing factory presets of your Native Instruments instruments and effects is straightforward: factory presets of all Native Instruments instruments/effects installed on your computer are already integrated into the MASCHINE library! You will find them directly in the Browser by selecting the corresponding file type (Instruments or Effects) in the File Type selector, t
Working with Plug-ins Using Native Instruments and External Plug-ins This submenu provides the list of all presets that your VST/AU plug-in has made available to the host — MASCHINE in this case. 3. Select the desired preset in this submenu. → The preset is loaded into the Plug-in. Each VST/AU instrument or effect might handle its presets (or patches, programs…) differently. Please refer to the plug-in documentation to find out how to reveal its presets (or a particular set of presets) to the host.
Working with Plug-ins Using Native Instruments and External Plug-ins Saving VST/AU Presets as MASCHINE Plug-in Presets Once you have loaded a VST/AU preset (user preset of a Native Instruments instrument/effect or any preset of a third-party VST/AU instrument or effect) using the method described above, you can save it as a Plug-in preset in MASCHINE via the Save As… or Save As Default… commands of the Plug-in menu (see section ↑6.1.9, Saving and Recalling Plug-in Presets).
Using the Audio Plug-in 7 Using the Audio Plug-in The Audio plug-in can playback audio (drums, percussion, basslines, guitar riffs, etc.) in-sync with the Tempo of your Project. It has two modes: Loop mode and Gate mode. ▪ Loop mode is the default setting where the loaded loop will play continuously whenever there is an active Pattern in the Group. You can see the audio waveform in the Pattern Editor to understand how the loop aligns with the Pattern.
Using the Audio Plug-in Loading the Audio Plug-in The Audio plug-in can be loaded onto any Sound within a Group. As a MASCHINE Plug-in, it supports all usual Plug-in workflows. Hence, to know how to load, remove, replace, insert, move, copy/paste the Audio plug-in, as well as how to adjust the Audio plug-in parameters and load/save default presets, refer to the section ↑6, Working with Plug-ins. Once an Audio plug-in is loaded it becomes visible in both the MASCHINE software and on the controller.
Using the Audio Plug-in Element Description Fade (Gate Mode only) Set a simple fade-in fade-out amount to avoid pops or clicks that may occur when using the Gate mode. To increase the fade of Gate mode, turn the Fade knob clockwise by clicking and dragging upwards. To decrease the fade, turn the Fade knob counter-clockwise by clicking and dragging downwards. Press the [SHIFT] button on your computer keyboard while turning the knob to increase or decrease the fade in finer increments.
Using the Audio Plug-in Loading a Loop into the Audio Plug-in Element Description Tempo Set the original tempo of your Audio so that the Audio plug-in can accurately play it in sync, no matter what tempo you choose for your Project. This is useful if MASCHINE has miscalculated the tempo while importing the audio. However, be aware that changing Tempo during playback could affect the synchronization of your audio. To increase Tempo click and drag upwards. To decrease the Tempo, click and drag downwards.
Using the Audio Plug-in Loading a Loop into the Audio Plug-in Pattern Editor with the Audio Plug-in Loop mode loaded on Sound 4. By default the Audio plug-in will playback in Loop mode, meaning the audio will be repeated for the duration of the Pattern regardless of the length of the audio. If you want to chop the loop and pitch it, switch to Gate mode. For more information on Gate mode, refer the following section ↑7.2, Using Loop Mode.
Using the Audio Plug-in Using Loop Mode 7.2 Using Loop Mode Loop mode is the default mode for the Audio plug-in and is used to playback audio in time with your Project. When loaded into a Sound, audio appears as a waveform in the Pattern Editor and is repeated for the entirety of the Pattern. A detailed overview of the audio waveform is displayed in Keyboard view. When the Pattern Length is decreased audio is trimmed causing the beginning of the audio waveform to repeat.
Using the Audio Plug-in Using Gate Mode 7.3 Using Gate Mode Gate mode is used to chop and pitch selected parts of your audio by applying MIDI note events in the Keyboard view of the Pattern Editor or by recording them using your controller. Each event is a gate for the audio; the length determines the duration of playback, and placement on the scale determines the pitch. By chopping and pitching the loop you can create melodies or even use it for effect on drums.
Using the Audio Plug-in Using Gate Mode The process of using Gate mode is as follows; load an audio loop onto a Sound, select Gate mode from the control panel of the Audio plug-in and then add MIDI events in the Pattern in the regions where you want to chop and pitch your audio, or press play on your controller and use the pads to pitch the audio. For more information on recording and editing events, refer to chapter ↑10, Working with Patterns.
Using the Drumsynths 8 Using the Drumsynths Drumsynths are a powerful set of monophonic Internal Instrument Plug-ins (i.e. Instrument Plug-ins included with MASCHINE) that allow you to generate individual, fine-tuned drum sounds for your music productions. Like any other Instrument Plug-in, you can load them only in the first Plug-in slot of Sounds.
Using the Drumsynths Drumsynths – General Handling 8.1 Drumsynths – General Handling This section describes the general use and features of the Drumsynths. Managing Drumsynths Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drumsynths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer to section ↑6.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same parameter organization in the Control area. ▪ Their parameters are grouped into the same three Parameter pages: ◦ The Main page groups the most important parameters for each drum type. Here you can select the engine to be used, the tuning, the decay, etc. ◦ The Advanced page provides access to more complex and finer adjustments to the drum sounds.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same global layout in the Plug-in Strip. ▪ In the top part of the panel you can adjust the Tune parameter, select the desired engine, adjust the velocity response, and adjust the Decay parameter (or the Filter parameter for the Shaker engine of the Percussion). ▪ In the bottom part of the panel you find the other parameters adjusting the sound of the selected engine.
Using the Drumsynths Drumsynths – General Handling 8.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily. The ranges of some shared parameters are different across engines.
Using the Drumsynths The Kicks For all engines, the Tune parameter lets you define which pitch will be played when hitting the pad of that Sound (with pads in Group mode) or playing the middle C (MIDI note 60) base note. In the MASCHINE convention the MIDI note 60 is noted C3.
Using the Drumsynths The Kicks The Kick panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Kick provides following engines: ▪ Sub (default): ↑8.2.1, Kick – Sub. ▪ Tronic: ↑8.2.2, Kick – Tronic. ▪ Dusty: ↑8.2.3, Kick – Dusty. ▪ Rasper: ↑8.2.5, Kick – Rasper. ▪ Snappy: ↑8.2.6, Kick – Snappy.
Using the Drumsynths The Kicks ▪ Bold: ↑8.2.7, Kick – Bold. ▪ Maple: ↑8.2.8, Kick – Maple. ▪ Push: ↑8.2.9, Kick – Push. For more information on engines, see ↑8.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑8.1, Drumsynths – General Handling. 8.2.1 Kick – Sub The Sub engine is the default engine of the Kick.
Using the Drumsynths The Kicks Element Description Bend Adjusts the amplitude of the pitch envelope applied throughout the sound duration (punch), measured as a percentage. Available values range from 0.0 to 100.0 % (default: 6,8 %). At zero, the sound stays at its original pitch during its entire decaying phase. As the Bend value is increased, an increasing amount of pitch envelope is applied.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Kicks Element Description Bias Adjusts the timbre of the distortion, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At zero, the distortion is symmetrical and introduces mostly odd harmonics. As the Bias value is increased, the distortion becomes more asymmetric and more even harmonics are introduced, resulting in a different tonality, especially at more subtle Gain settings.
Using the Drumsynths The Kicks 8.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Kicks Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 8.2.4 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to section 10.2 “The Kicks” in the MASCHINE 2.0 Manual. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.
Using the Drumsynths The Kicks Element Description Grind Adjusts the grittiness of the “aero” component of the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 45.0%). Low values produce a boomy reverberation. High values result in a crushed, digital “air” squashed into the drum sound. Note that this parameter will only have an effect if Amount is set to a non-zero value (see below).
Using the Drumsynths The Kicks 8.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.
Using the Drumsynths The Kicks Element Description Decay Adjusts the duration of the crispness effect, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 34.0 %). Amount Adjusts the amount of crispness, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this. Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑8.2, The Kicks.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Punch Simultaneously adjusts the amplitude and decay time of the noise in the attack.
Using the Drumsynths The Kicks 8.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Using the Drumsynths The Kicks Element Description Size Adjusts the size of the room, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Amount Adjusts the amount of room effect applied to the drum sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑8.2, The Kicks.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 8.3 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares The Snare panel in the Plug-in Strip. As with every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Snare provides following engines: ▪ Volt (default): ↑8.3.1, Snare – Volt ▪ Bit: ↑8.3.2, Snare – Bit ▪ Pow: ↑8.3.3, Snare – Pow ▪ Sharp: ↑8.3.4, Snare – Sharp ▪ Airy: ↑8.3.
Using the Drumsynths The Snares ▪ Vintage: ↑8.3.6, Snare – Vintage ▪ Chrome: ↑8.3.7, Snare – Chrome ▪ Iron: ↑8.3.8, Snare – Iron ▪ Clap: ↑8.3.9, Snare – Clap For more information on engines, see ↑8.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑8.1, Drumsynths – General Handling. 8.3.1 Snare – Volt The Volt engine is the default engine of the Snare. The Volt snare is an electronic snare based on a family of analog classics.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Osc Mode Selects the oscillator mode: If you select Tonal (default), the engine uses two oscillators running in parallel, the higher of which is extra sensitive to velocity for increased expressivity.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Grit Adjusts the intensity of the bitcrushing, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 30 %). NOISE Section Color Adjusts the tone of the digital noise, measured as a percentage.
Using the Drumsynths The Snares 8.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Snares Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %. Advanced Page The Advanced page contains parameters controlling the wires’ sound of the drum.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, but also the “spread” between the individual claps, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Room Adjusts the balance between the dry sound — the claps themselves — and the synthesized room sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At high values, extra “air” is added.
Using the Drumsynths The Snares 8.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mixes containing heavy bass. The adjustment of the wires spectrum provides a great range of snares. It also works very well with the Rasper Kick. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.
Using the Drumsynths The Snares Element Description SPECTRA Section Mode Selects from two different noise types that simulate the wires of the drum. Available modes are A (default) and B. Tune Provides an independent tuning of the snare noise. It relates to the tension of the snare wires on a real snare drum. Available values range from 0.0 to 100.0% (default: 50.0%). Decay Adjusts the length of the sound of the snare wires, independently from the main Decay parameter on the Main page.
Using the Drumsynths The Hi-hats 8.4 The Hi-hats The Hi-hat Drumsynth can generate a variety of hi-hat sounds. The Hi-hat in the Control area (Main page depicted). The Hi-hat panel in the Plug-in Strip.
Using the Drumsynths The Hi-hats As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Hi-hat provides following engines: ▪ Silver (default): ↑8.4.1, Hi-hat – Silver. ▪ Circuit: ↑8.4.2, Hi-hat – Circuit. ▪ Memory: ↑8.4.3, Hi-hat – Memory. In addition, we mention how to use Choke groups with Hi-hat Plug-ins to emulate a closed vs. open hi-hat set up: ↑8.4.
Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage. A short decay produces a closed hat; a long decay gives an open hihat or cymbal. Available values range from 0.0 to 100.0 % (default: 65.0 %).
Using the Drumsynths The Hi-hats Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 8.4.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑8.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage.
Using the Drumsynths The Hi-hats Element Description Seed Selects a random sequence to control the waveform produced by the oscillator. Each of the 31 seed values available produces a different set of random pitches and harmonics. Dissonance Affects the randomization of the oscillator, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 25.0 %). Higher values introduce more randomization, resulting in a more noisy sound.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑8.4, The Hi-hats.
Using the Drumsynths The Hi-hats Element Description Strike Adjusts the attack of the cymbal, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Distress Introduces even more lo-fi grit, crushing and distortion. Available values range from 0.0 % (default) to 100.0 %. Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑12.4, The Plug-in Strip. Main Page Element Description MAIN Section Engine Selects the engine used in the Hybrid plug-in. For more information on the available engines, please refer to section ↑8.4, The Hi-hats.
Using the Drumsynths The Hi-hats Advanced Page Element Description HYBRID Section Bend Adjusts the amount of a pitch envelope for sound design purposes. It is a bipolar control ranging from -100.0 to 100.0% (default: 0.0%) Rattle Adjusts the amount of sizzling from the hi-hat. It is more noticeable with long decays. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Page Like with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section ↑5.1.4, Using Choke Groups where Choke groups are explained in detail. With a single Hi-hat Plug-in, you could also recreate an open-closed hi-hat behavior by disabling Gate and modulating the Decay in your Pattern.
Using the Drumsynths The Toms The Tom panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Tom provides following engines: ▪ Tronic (default): ↑8.5.1, Tom – Tronic. ▪ Fractal: ↑8.5.2, Tom – Fractal. ▪ Floor: ↑8.5.3, Tom – Floor.
Using the Drumsynths The Toms For more information on engines, see ↑8.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑8.1, Drumsynths – General Handling. 8.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Toms Element Description Bend Adjusts the pitch sweep of the sound, measured as a percentage. Available values range from -100.0 % to 100.0 % (default: 0.0 %). At zero the sound stays at its original pitch during its entire decaying phase. At higher values, the pitch bends upwards. At lower values, the pitch bends downwards. Impact Adjusts the amount of attack, measured as a percentage. Available values range from 0.0 % (soft attack) to 100.0 % (maximum attack).
Using the Drumsynths The Toms Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 8.5.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑8.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 48.00 to 72.00. The default value is 48.00. For more details see↑8.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Toms Element Description Color Adjusts a simple filter which affects the brightness of the sound. Available values range from 0.0 to 100.0 % (default: 50.0 %). Glide The tuning of the Fractal tom is locked for each note; in other words the change in tuning is applied only when a new note is received. When the Glide parameter is set higher than zero, the pitch glides smoothly to the new tuning.
Using the Drumsynths The Toms Element Description Transpose Adjusts the pitch transposition of the feedback oscillator bank only, measured in semitones and cents. This is useful for tuning it to the tone oscillator. Available values range from -12.00 to 12.00 semitones (default: 0.00). Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank, measured as a percentage. Available values range from 0.0 to 100.0 % (default).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0 % (default). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From the mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0% (default). Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 80.0%). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Percussions The Percussion in the Control area (Main page depicted). The Percussion panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Percussions ▪ Fractal (default): ↑8.6.1, Percussion – Fractal. ▪ Kettle: ↑8.6.2, Percussion – Kettle. ▪ Shaker: ↑8.6.3, Percussion – Shaker. For more information on engines, see ↑8.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑8.1, Drumsynths – General Handling. 8.6.1 Percussion – Fractal The Fractal engine is the default engine of the Percussion.
Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑8.5.1, Tom – Tronic). This allows you to create arpeggiated patterns by adjusting the Tune parameter while a sequence of notes is playing.
Using the Drumsynths The Percussions Element Description HARMONICS Section KTr. Mode (Key Tracking Mode) Selects from two key tracking modes: Harmonic (default) and Dissonant. In Harmonic mode all oscillators track the Tune parameter (on the Main page, see above) and your keyboard evenly. Therefore, the drum stays in tune with itself as the Tune parameter is adjusted, and can be played chromatically across a keyboard or the pads.
Using the Drumsynths The Percussions Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑8.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Percussions Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Filter Adjusts the bandwidth of the filter applied to the noise source, measured as a percentage. Higher settings result in a wider filter. Lower settings result in a narrower filter, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 70.0 %). Grain Adjusts the timbre of the noise source, measured as a percentage. Higher settings emulate the grainy sound of a real shaker. Available values range from 0.0 to 100.
Using the Drumsynths The Percussions Element Description Accent (Performer mode only) Controls the amount of emphasis on certain notes within the shaker pattern, measured as a percentage. At low values, the groove is static and the notes rather quiet, as if the shaker were being shaken very gently and uniformly. As the parameter is increased, key notes in the pattern are emphasized, creating a classic shaker groove.
Using the Drumsynths The Percussions Element Description Sync The Sync parameter has two options: Lock and Retrig. In Lock mode, the shaker pattern is synced to the song position; that is, it is always in time regardless of when a note is pressed. In Retrig mode, the shaker pattern (including accents) is retriggered on every note on, without quantizing to the nearest beat. In both cases, the tempo of the pattern remains correct for the song. Rate Sets the note division of the shaker pattern.
Using the Drumsynths The Cymbals Element Description Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher values will result in a pattern with more swing. Note that Swing alone will result in quite a mechanical feel — for a more human feel it is recommended to add some Twist as well (see below). Available values range from 0.0 to 100.0% (default: 0.0%). Twist The Twist parameter “skews” the groove of the shaker pattern.
Using the Drumsynths The Cymbals The Crash engine selected for the Cymbal in the Control area (Main page depicted). The Crash engine selected on the Cymbal panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑8.7.1, Cymbal – Crash. ▪ Ride: ↑8.7.2, Cymbal – Ride. For more information on engines, see ↑8.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑8.1, Drumsynths – General Handling. 8.7.1 Cymbal – Crash The Crash engine creates a wide range of cymbals: from a typical 909-like crash to more acoustic sounding timbres.
Using the Drumsynths The Cymbals Element Description Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%). COLOR Section Density Adjusts the more complexity to the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 100.
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Drumsynths The Cymbals Element Description Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 70.0%). Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%).
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Bass Synth 9 Using the Bass Synth Bass Synth is an internal fun and easy to use monophonic synthesizer module that allows you to quickly create expressive basslines. Like any other Instrument Plug-in, load it into the first Plug-in slot of a Sound to gain full control over its parameters in the Control Panel or direct from your hardware controller. Create rich bass tones and program acid lines with ease.
Using the Bass Synth Bass Synth – General Handling 9.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste a Bass Synth, as well as how to adjust the Bass Synth parameters, and load/save presets, please refer to section ↑6.
Using the Bass Synth Bass Synth – General Handling ◦ The Main page groups the most important parameters. Here you can adjust the Shape of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation (Mod. Amt.) and envelope Decay amounts, the Drive amount and the Glide Time. ◦ The Advanced page provides access to the Glide on/off parameter.
Using the Bass Synth Bass Synth – General Handling 9.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑12.4, The Plug-in Strip for more information on this.
Using the Bass Synth Bass Synth – General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% – 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards. Decay Adjusts the rate at which the sound fades to silence (range: 0.0% – 100%). To increase the decay amount, turn the Decay knob clockwise by clicking and dragging upwards.
Working with Patterns Pattern Basics 10 Working with Patterns Creating a Pattern is where the fun starts, because the sequencer really is the core of MASCHINE. Both your controller and the software provide you with many powerful tools to create and edit your own beats. This chapter is organized as follows: ▪ General points on Patterns and the Pattern Editor: ↑10.1, Pattern Basics. ▪ How to record Patterns in real time from your controller: ↑10.2, Recording Patterns in Real Time.
Working with Patterns Pattern Basics 10.1.1 Pattern Editor Overview The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software. This overview of the Pattern Editor introduces you its main parts and control elements. 1 5 8 6 9 10 2 3 7 4 11 15 14 13 12 The Pattern Editor (Group view depicted). (1) Group View button: Click this button to switch to Group view. See section ↑10.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics (5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view. The Pad view is an alternate representation of your Sound slots that focuses on the pads of your controller. In Pad view you can adjust how the Sounds should be triggered by your pads. See section ↑5.1.1, The Pad View in the Software. (6) Pattern Manager button: Opens/closes the Pattern Manager.
Working with Patterns Pattern Basics (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modulation and the MIDI/host automation of each parameter. See section ↑10.5, Recording and Editing Modulation and ↑11.2, Using MIDI Control and Host Automation for more information.
Working with Patterns Pattern Basics ▪ The Event Edit mode lets you edit the selected events: ↑10.4.4, Editing Selected Events/ Notes. ▪ The Grid mode lets you adjust the Step Grid: ↑10.1.7, Adjusting the Step Grid and the Nudge Grid. The Pattern Arrange Mode The Pattern Arrange mode is a powerful tool that allows you to visually control the content of your Patterns while providing important Pattern management features. To enter Pattern Arrange mode on your controller: 1.
Working with Patterns Pattern Basics 1 2 3 4 5 6 7 8 The Pattern Arrange mode in the controller displays: Keyboard view (top) and Group view (bottom).
Working with Patterns Pattern Basics ◦ Above the arrangement overview, you see the name of the Project, the focused Group or the focused Sound (depending on which of the MASTER, GROUP or SOUND tab is selected in the software’s Control area) along with the current tempo and playback position. ▪ The right display provides a detailed view of a portion of your Pattern: ◦ The name of the selected Pattern is indicated at the top of the display (6).
Working with Patterns Pattern Basics ▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑10.7.8, Duplicating, Copying, and Pasting Patterns). ▪ Press Button 5 (EVENTS) to access Event Edit mode, which allows you to precisely adjust the selected events (see section ↑10.4.4, Editing Selected Events/Notes).
Working with Patterns Pattern Basics 2 1 3 The zooming scroll bar at the bottom of the Pattern Editor. Use the horizontal zooming scroll bar as follows: ▪ Click the main part (1) of the scroll bar and hold the mouse button, then: ◦ Drag your mouse horizontally to scroll through the Event area on the time axis (common scroll bar behavior). ◦ Drag your mouse vertically to zoom in or out of the Event area on the time axis.
Working with Patterns Pattern Basics When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch axis. It works in the same way as the horizontal bar described above. For more information on the Group and Keyboard view, see section ↑10.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics The Follow function will be automatically disabled as soon as you manually scroll in the Arranger or the Pattern area (in the software or from your controller). The Follow function affects both the Pattern Editor and the Arranger simultaneously (see section ↑15.1.2, Following the Playback Position in Your Project for more information on the Follow function in the Arranger).
Working with Patterns Pattern Basics 10.1.4 Jumping to Another Playback Position in the Pattern You can use the timeline above the Event area to set the playback to the desired position. For example, this can be useful to check a particular transition between events in your Pattern without waiting for the whole Loop Range to be looped. In the timeline above the Event area, a playhead (the little white vertical line) indicates the current play position in the Pattern.
Working with Patterns Pattern Basics For more information on the Step Grid, see section ↑10.1.7, Adjusting the Step Grid and the Nudge Grid. ▪ If playback is on, the playhead jumps to the closest position near your mouse cursor that retains the current playhead position relative to the Pattern Grid division. This allows seamless jumps that don’t break the rhythm of your music. If the Pattern Grid is set to Off (i.e. disabled) or Quick, the playhead position is retained relative to the current bar.
Working with Patterns Pattern Basics In Group view, the Pattern Editor shows the events for all Sounds in the Group. This view is well suited for rhythmic instruments (e.g., a drum kit), since you can see and edit the events for all Sounds at once, without worrying about the pitch of the events you create or edit.
Working with Patterns Pattern Basics In Keyboard view, the Pattern Editor shows all notes for a particular Sound. If you select another Sound slot in the Sound List on the left, the whole Event area will switch to the notes for that Sound. On the left of the Event area, a vertical piano roll indicates the note corresponding to each row in the Event area. Octaves are indicated by a number on each C key: e.g., the middle C, which is noted C3 in the MASCHINE convention, will read “3.
Working with Patterns Pattern Basics → The Pattern Editor in the software switches to Keyboard view. See The Pad View in the Software for more details on the various pad modes available on your controller. 10.1.6 Adjusting the Arrange Grid and the Pattern Length The Arrange Grid defines regularly spaced-out timings notably used in following situations: ▪ Adjusting the Pattern length (see below). ▪ Adjusting the Section lengths.
Working with Patterns Pattern Basics ▪ Quick (default): With this setting, the available lengths for your Pattern are as follows: 1 bar, 2 bars, 4 bars, 8 bars, 12 bars, 16 bars, etc. (+ 4 bars each time starting from 4 bars). This handy mode allows you to quickly select from the most common Pattern Lengths. For other uses of the Arrange Grid (adjusting the playback position and the Loop Range), one-bar divisions are used instead.
Working with Patterns Pattern Basics Events beyond the Pattern’s end can be edited in the software. However, you cannot edit them from the controller. See section ↑10.4, Editing Events for more information on editing events.
Working with Patterns Pattern Basics 3. Select a resolution by pressing the corresponding pad. Alternatively you can press Button 5, 6 or 8 to successively select each of the resolutions in the corresponding column. → The selected value is highlighted on the right display and the corresponding pad turns fully lit.
Working with Patterns Pattern Basics The vertical lines represent the Step Grid in the Event area. By default the Step Grid is active and the step size is 1/16th. However you may use another step size or disable the Step Grid completely, as described below. Depending on the current zoom factor and Step Grid resolution, if the vertical lines of the Step Grid are too close to each other they will be hidden to avoid convoluting the display.
Working with Patterns Pattern Basics The Step Size menu lets you adjust the Step Grid resolution. ► To select the step size that will apply to all your editing actions, click the value next to the grid icon at the bottom left of the Pattern Editor and choose the desired step size from the drop-down menu. Values range from 1 Bar to 1/128 and also include triplet values. The default value is 1/16th note.
Working with Patterns Pattern Basics ► To adjust the Nudge Grid, right-click ([Ctrl]-click on macOS) on the background of the Event area, select Nudge Grid in the menu, and choose a resolution from the values available in the submenu: Step, Step/2, Step/4, Step/8, and Step/16: The Nudge Grid is not indicated in the Event area of the Pattern Editor.
Working with Patterns Pattern Basics 2. Press Button 4 (STEP) to access the Step and Nudge Grid settings. The right display will show you which pad represents a resolution: 3. Select a step size by pressing the corresponding pad. Alternatively you can repeatedly press Button 5–8 to successively select each of the resolutions in the corresponding column. → The selected value is highlighted on the right display and the corresponding pad turns fully lit.
Working with Patterns Recording Patterns in Real Time 10.2 Recording Patterns in Real Time This section describes the various ways, features, and aids available on your controller to record Patterns as you play them in real time: ▪ The most common method is called overdub recording. Alternatively you can use replace recording. Both are described in section ↑10.2.1, Recording Your Patterns Live.
Working with Patterns Recording Patterns in Real Time Recording a Pattern: press PLAY then REC and hit some pads! 1. Press PLAY to start the sequencer. The PLAY button lights up. 2. Press REC to begin recording. The REC button lights up. 3. Now hit the pads you want to record and listen to what happens. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad.
Working with Patterns Recording Patterns in Real Time 4. Hit the pads you want to record. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad. Existing events for the selected Sound(s) are deleted as they are reached by the playhead. 5. When you’re done, press REC again to stop recording the pads. The ERASE and REC buttons turn off. The sequencer keeps playing until you press PLAY again.
Working with Patterns Recording Patterns in Real Time ▪ If no Pattern is selected, engaging record (in Overdub or Replace mode) automatically creates an empty Pattern with the default Pattern Length. The new Pattern is used at the beginning of the current Scene and repeated all along the Scene. You can adjust the default Pattern Length in the Defaults page of the Preferences panel. See section ↑2.6.1, Preferences – General Page for more information.
Working with Patterns Recording Patterns in Real Time 2. While holding REC, to adjust the Pattern Length for the Pattern in which you are about to record, you can turn Knob 4 (LENGTH) or press Button 5–8 to directly select from the four length presets available: 2, 4, 8, or 16 bars. 3. Release REC. → The Record mode is engaged (REC is lit) and the Pattern has the length you defined. Press PLAY to start the sequencer (if it’s not done already) and play the pads to start recording! See section ↑10.
Working with Patterns Recording Patterns in Real Time ▪ You can select custom sounds for the metronome’s downbeats and upbeats in the Preferences’ Default page (see section ↑2.6.4, Preferences – Default Page for more details). The time signature of the metronome can be set to differ from the time signature of your Project! This can be useful to record unusual rhythms in a Pattern.
Working with Patterns Recording Patterns in Real Time ▪ After the count-in phase, the recording starts in Overdub mode (see ↑10.2.1, Recording Your Patterns Live). The metronome turns off if it was off before the Count-in, otherwise it stays on. You can adjust the metronome’s volume, time signature, and downbeat/upbeat sounds. See section ↑10.2.3, Using the Metronome for more information. If the current Loop Range does not start at the beginning of a bar (i.e.
Working with Patterns Recording Patterns in Real Time 10.2.5 Quantizing while Recording You can choose to have notes automatically quantized as you record. This is called Input Quantization. You can also quantize recorded notes at any time. See section ↑10.4.7, Quantizing Events/Notes for more information. 10.3 Recording Patterns with the Step Sequencer If you are familiar with classic drum machines you may want to program your Pattern using the step sequencer. 10.3.
Working with Patterns Recording Patterns with the Step Sequencer The Step mode on the controller displays: the first bar of an eight-bar Pattern. The left display shows your entire Pattern, and the right display focuses on the portion of the Pattern corresponding to the steps controlled by your pads. The details shown in the displays depend on the current mode of your pads: ▪ If your pads are in Group mode: ◦ The left display shows events for all Sounds in the Group.
Working with Patterns Recording Patterns with the Step Sequencer 3. Press an unlit pad to create an event on that step. The pad lights up to indicate that there is an event on that step. The new event is one step long. The next time the playback position reaches that step the new event will be played. 4. Press a lit pad to remove that step. ⇨ The pad turns off and the event on that step is deleted. 5.
Working with Patterns Recording Patterns with the Step Sequencer When Follow is enabled, the right display and your pads automatically switch to the next 16 steps as soon as the playback position reaches the end of the portion currently displayed. 10.3.2 Editing Events in Step Mode In Step mode you can quickly adjust the parameters of events on particular steps. Editing Events in Step Mode on the Controller You can adjust the various settings of your events via the left display: 1.
Working with Patterns Recording Patterns with the Step Sequencer Editing Tool Description Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different velocities, the velocities differences are retained as long as the limits (0 and 127) are not reached. When only one event is selected, its velocity is shown under VELOCITY. If several events are selected, the field shows (MULTI).
Working with Patterns Recording Patterns with the Step Sequencer 10.3.3 Recording Modulation in Step Mode You can also record modulation in Step mode. This is helpful when you want to set value changes at a specific time in a Pattern. For all details on modulation please refer to section ↑10.5, Recording and Editing Modulation. 1. Press and hold the pad(s) representing the step(s) you want to modulate (you may need to use Knob 6 to navigate beforehand to the desired part of the Pattern).
Working with Patterns Editing Events Events vs. Notes Basically events and notes are the same thing: a trigger for a Sound with a particular velocity, pitch, length, etc. If the word “note” is used when dealing with melodic instruments and “event” when dealing with drum kits, keep in mind that both words have the same meaning in the MASCHINE context. 10.4.1 Editing Events with the Mouse: an Overview In the software you can choose from three Mouse Edit modes.
Working with Patterns Editing Events Listed here are all available mouse actions from the Mouse Edit modes. For more details on specific actions, please refer to the next sections Mouse in Select Mode The following table is an overview of available mouse actions in Select mode (works in both Group view and Keyboard view, see ↑10.1.5, Group View and Keyboard View). All these actions are described in more details in the following sections. Action Function Creating Notes (see ↑10.4.
Working with Patterns Editing Events Action Function Editing Selected Notes* (see ↑10.4.4, Editing Selected Events/Notes for details) Drag note horizontally Moves selected notes in time according to the Step Grid. [Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step Grid quantization). (macOS: [Cmd] + drag note) [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid.
Working with Patterns Editing Events ► Click a note and move the mouse cursor with the button pressed to erase all notes under the mouse cursor. Only Notes for the selected Sound are erased. Additionally, you can resize notes like in Select mode: ► Drag the left or right border of a note horizontally to move its start/end according to the Step Grid. Hold [Ctrl] ([Cmd] on macOS) while dragging to override the quantization.
Working with Patterns Editing Events Mouse in Paint Mode ► To create a new event in Paint mode, simply click at the desired location. Click and hold your mouse and move the cursor horizontally to quickly create a series of events. You cannot create events with your mouse in Erase mode.
Working with Patterns Editing Events Action Function [Shift] + click unselected event Add event to current selection [Shift] + click selected event Remove event from selection Drag in Event area’s background Multiple selection (selection frame) Click in Event area’s background Deselect all events Selecting All Events You can select all events displayed in the Event area via the usual keyboard shortcut on your operating system: ► Click anywhere in the Event area and press [Ctrl] + [A] ([Cmd] + [A
Working with Patterns Editing Events Depending on the current pad mode (Group mode or Keyboard mode, see ↑5.1.1, The Pad View in the Software), these tools will select events differently, as described in the following paragraphs. Event Select Mode: Selecting Events (Pads in Group mode) In Group mode (the default mode of the pads) each pad represents a specific Sound of the focused Group.
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate Sounds for which the Pattern has no events. Nothing happens when you press them. Dimmed pads indicate Sounds for which events can be selected: Press any dimmed pad to add all events for that Sound to the selection. The pad turns fully lit to indicate that all its events are selected. You can press any additional dimmed pad to add its events to the selection.
Working with Patterns Editing Events By combining these tools you can precisely define the selection of events you want to edit. Event Select Mode: Selecting Notes (Pads in Keyboard mode) In Keyboard mode each pad represents a specific pitch of the focused Sound. When your pads are in Keyboard mode the Event Select mode looks as follows: Selecting events on the controller with the pads in Keyboard mode.
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when you press them. Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad to add all notes at that pitch to the selection. The pad turns fully lit to indicate that all its notes are selected. You can press any additional dimmed pad to add its notes to the selection.
Working with Patterns Editing Events 10.4.4 Editing Selected Events/Notes Once you have selected particular events, you can edit them in various ways. In the software you can edit events with your mouse only if Select mode is selected in the Edit Mode selector: Click the cursor icon on the left to select events with your mouse. Action Function Editing Selected Notes Drag note horizontally Moves selected notes in time according to the Step Grid (see quantizing rules below).
Working with Patterns Editing Events Action Function Double-click note Deletes selected notes. Right-click (macOS: [Ctrl]-click) Deletes selected notes. If multiple notes are selected, mouse actions can be performed on any of the selected notes — they will apply to all selected notes. If you perform any of the actions listed above on a note not included in the current selection, the selection is dropped and the note you are editing will be the only note affected by your edit.
Working with Patterns Editing Events Dragging vs. Nudging Dragging with the mouse is different from the Nudge command on your controller: ▪ Whereas dragging is based on the Step Grid, the Nudge command is based on the Nudge Grid (see section ↑10.1.7, Adjusting the Step Grid and the Nudge Grid). ▪ Whereas you can drag notes beyond the end of the Pattern, nudged notes reaching the end of the Pattern are automatically sent to the beginning of the Pattern.
Working with Patterns Editing Events The Event Edit mode on the controller with pads in Group mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group. ▪ The right display shows a detailed view of a portion of your Pattern with events and their velocities for the focused Sound. If your pads are in Keyboard mode the Event Edit mode looks as follows: The Event Edit mode on the controller with pads in Keyboard mode.
Working with Patterns Editing Events 1. Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respectively. 2. If your pads are in Keyboard mode, turn Knob 7 to scroll on the pitch axis (vertical axis) from events at the lowest pitch until events at the highest pitch. Under the left display Knob 1–4 provide following editing functions: Editing Tool Description Knob 1 (POSITION) Nudges selected events, i.e.
Working with Patterns Editing Events Editing Tool Description Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different velocities, the velocities differences are retained as long as the limits (0 and 127) are not reached. If one event only is selected, its velocity is shown under VELOCITY. If several events are selected, the field shows (MULTI).
Working with Patterns Editing Events Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small increments. This can be used to creatively add groove to Patterns, for example, shifting the snare drum so that it is ever so slightly late, or “in the pocket” (something a funk drummer does naturally!). Transpose Events and Notes You can transpose selected events by semitones or octaves to match their pitch to your taste.
Working with Patterns Editing Events Mouse in Erase Mode ► To delete an event, simply click it. Click and hold the mouse anywhere in the Event area and move the cursor to quickly delete series of events. Deleting Events/Notes on the Controller Your controller provides you with several tools to delete events from the current Pattern.
Working with Patterns Editing Events ► Press SHIFT + pad 9 (CLEAR) to erase the selected events. If nothing is selected, all event/notes in the Pattern will be affected.
Working with Patterns Editing Events The command has the same effect whether your pads are in Group mode or in Keyboard mode. 10.4.6 Cut, Copy, and Paste Events/Notes You can also cut, copy and paste selected events to another location in the same Pattern or to a different Pattern and for the same Sound or another one (possibly in another Group). To cut, copy, and paste the selected events/notes in the software, do the following: 1.
Working with Patterns Editing Events ▪ In any case the first pasted event will be quantized to the current Step Grid, and the following pasted events will retain their time offset to this first event. ▪ If you paste the events via the Paste command from the context menu of the Event area’s background: ◦ The first copied event is pasted at the closest step near the mouse cursor on the time axis. ◦ In Group view the events copied from the topmost Sound in the Sound List are pasted onto the focused Sound.
Working with Patterns Editing Events ◦ If you have changed both the Sound focus and the playhead position (e.g., by clicking in the timeline above the Event area, see section ↑10.1.4, Jumping to Another Playback Position in the Pattern), events are inserted with the first event starting at the playhead position.
Working with Patterns Editing Events ▪ Full quantization: Moves each event directly onto the closest step of the current Step Grid. This allows a perfectly regular rhythm. ▪ Half quantization (50%): Moves each event half way toward the closest step of the current Step Grid. This allows a tighter rhythm while retaining a human feel.
Working with Patterns Editing Events 3. To apply only a small amount of quantization to keep the groove you created after recording your pattern, right-click the mouse and select Quantize 50% from the context menu. 4. To undo/redo Quantize use hotkeys: Ctrl+Z/Ctrl+Y (Cmd+Z/Cmd+Y on macOS). Using Quantization on the Controller You can quantize your notes at any time, no matter how you recorded them. They will be quantized according to the step size (i.e. Step Grid resolution) selected.
Working with Patterns Editing Events ▪ Record: Input Quantization is applied only when you record the pads. ▪ Play/Rec: Input Quantization is applied both when you play on the pads and when you record them. In Play/Rec mode the quantization applied while playing is slightly different from the quantization applied while recording: When recording, all events are quantized to the closest step — possibly ahead of the event.
Working with Patterns Editing Events 3. Press Button 3 (DOUBLE). → The Pattern is doubled. Keep in mind that doubling a Pattern twice results in a Pattern that is four times as long. 10.4.10 Adding Variation to Patterns Variation provides an abundance of inspiration and even “happy accidents” when applied to your workflow. The variation engine contains two modes: ▪ Humanize: This mode adds natural rhythmic fluctuations to programmed sequences.
Working with Patterns Editing Events Element Description HUMANIZE This mode provides natural rhythmic fluctuations to your programmed sequences based on the values of the parameters of this mode. RANDOM This mode creates randomly generated versions of your beats and melodies based on the values of the parameters of this mode. APPLY Applies the current settings to the selected Sound. Humanize Mode Parameters Element Description Apply Applies the current settings to the selected Sound.
Working with Patterns Editing Events Random Mode Parameters Element Description PROBABILITY (Keyboard mode) Probability Set the probability of how often a note is created. At 50% a note may or may not be created at each step. At 100% a note will be created at every step of pattern. Probability can be changed from 10-100% in 10% increments. Press SHIFT to change in finer increments of 1%. NOTE RANGE (Keyboard mode) Note Lo Create notes no lower than the set value.
Working with Patterns Editing Events Element Description Step Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here. Time shift can be changed from +/- 0-50% in 5% increments. Press SHIFT to change in finer increments of 1%. DISTRIBUTIONS Note Count (Keyboard mode) Fixed: The note count is fixed. The value set in the Note Count of the CHORDS section will take precedent here.
Working with Patterns Recording and Editing Modulation 10.5 Recording and Editing Modulation One of the really cool features of MASCHINE is the ability to modulate nearly all MASCHINE parameters both on the controller and in the software in a very easy way. In MASCHINE, modulation means the automatic change of MASCHINE parameters from an internal source (e.g., manual changes recorded via Auto-write…).
Working with Patterns Recording and Editing Modulation This section describes how to use modulation in MASCHINE — for more information on using automation, please refer to section ↑11.2.3, Controlling Parameters via MIDI and Host Automation. Please note that modulation and automation are not mutually exclusive: You can modulate a parameter in MASCHINE and automate it (e.g.
Working with Patterns Recording and Editing Modulation Almost all parameters meeting these requirements can be modulated, the only exceptions being: ▪ Plug-ins: ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button (EQ section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the Cue button in the Audio page. ◦ Group’s Input properties: the Root Note knob in the MIDI page.
Working with Patterns Recording and Editing Modulation → Your movement are recorded into the Pattern and will be recalled as the playback is looped. As soon as you create modulation for a parameter, the following happens: ▪ On the outer ring of the knob, the colored section (usually indicating the current parameter value) is replaced by a little segment indicating the modulated value. During playback this little segment follows the movement you have just recorded.
Working with Patterns Recording and Editing Modulation 3. Hold AUTO to enter Auto-write mode. At the bottom of the displays, non-modulatable parameters disappear. Among the remaining parameters (all modulatable), the value of each continuous parameter is replaced by a percentage. 4. While holding AUTO, turn the desired Knob 1–8 under the displays to adjust the deviation to the actual value as you see fit. → Your modulation gets recorded now.
Working with Patterns Recording and Editing Modulation 3. If the Control Lane is not visible at the bottom of the Pattern Editor, click the up-pointing arrow in the bottom left corner of the Pattern Editor to show it. 4. Click the little bar icon left of the Control Lane to display the Modulation pane. → The Modulation pane appears. The Modulation pane showing the modulation track for the Decay parameter (see on the left).
Working with Patterns Recording and Editing Modulation ◦ Left of the modulation track, a vertical scale indicates the value range for that parameter. In the modulation track you can create, edit, and delete modulation points (see below).
Working with Patterns Recording and Editing Modulation Mouse Edit Mode Available Mouse Actions (1) Select mode To create modulation points, double-click in the Control Lane — other points on this step will be replaced. To delete a modulation point, right-click it ([Ctrl]-click it on macOS). To edit an existing modulation point, drag it vertically (you can also drag the horizontal segment following the point instead).
Working with Patterns Recording and Editing Modulation To create a new modulation track: 1. To create a new modulation track for a parameter of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area. 2. To create a new modulation track for a parameter of a Group, click the desired Group in the Group List (left of the Arranger) and click the GROUP tab in the Control area. 3.
Working with Patterns Recording and Editing Modulation When you load a Plug-in in a channel (Sound or Group) its modulatable parameters will automatically show up in the menu of available parameters when this channel is focused. Resetting a Modulation Track ► To reset the modulation track of a parameter, right-click ([Ctrl]-click on macOS) the desired entry in the Modulator List and select Reset Modulator at the top of the menu.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE 10.6 Creating MIDI Tracks from Scratch in MASCHINE Within MASCHINE you can create MIDI tracks from scratch for any Sound of your Project. MASCHINE’s MIDI automation tracks can have two purposes: ▪ When playback is on, the content of these tracks is sent in real time as MIDI data via the MIDI output of the Sound (if enabled). Configuring the MIDI output of Sounds is done in the MIDI page of the Sound’s Output properties — see section ↑11.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE 3. Click the MIDI socket icon left of the Control Lane to display the MIDI pane. 4. At the end of the list of MIDI controls nearby, click the “+” to add a new MIDI track. A new entry appears at the end of the list reading Not assigned. 5. Right-click ([Ctrl]-click on macOS) this Not assigned entry and select the desired MIDI control from the context menu. 6.
Working with Patterns Managing Patterns 10.7 Managing Patterns This section describes how to organize your Patterns, Pattern slots, and Pattern banks. 10.7.1 The Pattern Manager and Pattern Mode In the software, all Pattern management operations are done in the Pattern Manager: ► To open the Pattern Manager, click the Pattern Manager button (a down-pointing arrow) at the left of the name of the selected Pattern. → The Pattern Manager appears underneath.
Working with Patterns Managing Patterns Use the Pattern Manager to manage your Patterns. ▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots containing a Pattern show a colored bar on the left along with the Pattern name. The other slots contain no Pattern. The selected Pattern is highlighted (the Basics - Return Pattern in the picture above).
Working with Patterns Managing Patterns Closing the Pattern Manager ► To close the Pattern Manager, click anywhere outside it. The Pattern Mode on Your Controller The Pattern mode is where you select and manage your Patterns. ► To enter Pattern mode on your controller, press and hold PATTERN (you can pin it by pressing Button 1 at the same time). → Your controller switches to Pattern mode. This is indicated by the lit PATTERN button. The hardware displays in Pattern mode.
Working with Patterns Managing Patterns 10.7.2 Selecting Patterns and Pattern Banks {Commented by Christian Schulz, 04.10.2017 18:30:17: Something is wrong with the fragments and taxononmy tagging.} In the topmost row of the Pattern Editor, you can see on the left the name of the Pattern selected: The selected Pattern is named Basics. Selecting a Pattern: 1. Open the Pattern Manager (see ↑10.7.1, The Pattern Manager and Pattern Mode). 2.
Working with Patterns Managing Patterns → The selected Pattern is loaded in the Pattern Editor and its events appear in the Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑15.3, Using Arranger View for more on this).
Working with Patterns Managing Patterns 10.7.3 Creating Patterns First of all, you don’t need to explicitly create a new empty Pattern before filling it with events: ▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the software or by recording pads on your controller) a new Pattern will be created for it! See section ↑10.4.2, Creating Events/Notes for more information on creating events.
Working with Patterns Managing Patterns → A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑15.3, Using Arranger View for more on this). 10.7.3.
Working with Patterns Managing Patterns 10.7.4 Deleting Patterns To delete a Pattern: 1. Open the Pattern Manager (see ↑10.7.1, The Pattern Manager and Pattern Mode). 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press the pad corresponding to the Pattern you want to delete. 4. Press Button 6 (DELETE). → The Pattern is deleted. Alternate Method 1. Press and hold PATTERN to enter Pattern mode. 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press ERASE + the pad corresponding to the Pattern you want to delete. → The Pattern is deleted.
Working with Patterns Managing Patterns 2. Click the “+” symbol under the last pad grid on the right to create another Pattern bank. → A new empty Pattern bank is created and its pad grid appears in place of the “+” symbol. If the last Pattern bank is empty, there is no “+” symbol under its pad grid and you cannot create any new Pattern bank. Deleting a Pattern Bank To delete a Pattern bank: 1. Open the Pattern Manager (see ↑10.7.1, The Pattern Manager and Pattern Mode). 2.
Working with Patterns Managing Patterns If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 10.7.6 Naming Patterns You can replace the Patterns’ default names with custom names of your own. This can be done in the Pattern Editor, in the Pattern Manager or in the Arranger. Renaming Patterns in the Pattern Editor To rename the selected Pattern in the Pattern Editor: 1.
Working with Patterns Managing Patterns 3. On the right of the Pattern slot, click the little pen icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Rename from the context menu: The Pattern name gets highlighted and editable. 4. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Pattern is renamed.
Working with Patterns Managing Patterns 1. Double-click any Clip referencing the Pattern you want to name. The Clip turns to a text field and waits for your input. 2. Type a name and press [Enter] on your computer keyboard to confirm. → The Pattern is renamed. All Clips referencing this Pattern will mirror the new Pattern name. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with Patterns Managing Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Pattern slot or the corresponding cell in the pad grid and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Pattern is highlighted. 4. Select the desired color in the Palette. You can also choose to set the Pattern back to its default color by selecting Default at the bottom of the Color Palette. → The Pattern slot takes the new color you select.
Working with Patterns Managing Patterns 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from the slot’s context menu: 3. Select the Group in which you want to paste the Pattern’s content. 4. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again. The selected (or created) Pattern appears in the Pattern Editor. 5.
Working with Patterns Managing Patterns → The Pattern is copied to the target pad. The target pad starts flashing and you can further copy/paste it to other slots! This procedure has following benefits: ▪ You can paste the copy into the Pattern slot of your choice — empty or not. If the target Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
Working with Patterns Managing Patterns 4. While holding the mouse button, drag your mouse toward the desired location. As the mouse cursor moves, the potential target slots are highlighted or an insertion line appears at the potential places between slots where you can drop the Pattern slot. 5. When the desired slot is highlighted or when the insertion line appears at the desired location, release the mouse button. → The Pattern takes its new place.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns → The Pattern Length can now be adjusted in finer increments according to the value of the Step Grid. 10.8 Importing/Exporting Audio and MIDI to/from Patterns In the Pattern Editor you can quickly export MIDI and audio from Patterns and import MIDI to Patterns via drag and drop. 10.8.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. If you want to export a single Sound in the Group, you can switch the Pattern Editor to Keyboard view, put the focus on the desired Sound, and check that this Sound is not muted (see section ↑5.4.1, Mute and Solo) — otherwise the exported audio file will be silent! Alternatively you can let the Pattern Editor in Group view and solo this Sound. 4.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can export MIDI files using two methods: via drag-and-drop or via the Group/Sound context menu. Exporting MIDI via Drag-and-Drop You can render the selected Pattern to a MIDI file by simply dragging it onto the target location on your operating system or directly into a MIDI channel of your host software: 1. Select the Pattern you want to export MIDI from (see section ↑10.7.2, Selecting Patterns and Pattern Banks). 2.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select the Pattern you want to export MIDI from (see section ↑10.7.2, Selecting Patterns and Pattern Banks). 2. To export MIDI from the entire Group, switch the Pattern Editor to Group view and rightclick ([Ctrl]-click on macOS) the desired Group in the Group List (left of the Arranger) to open its context menu. You can also right-click ([Ctrl]-click on macOS) the Group name above the Sound List.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 10.8.3 Importing MIDI to Patterns You can import MIDI files (extension “.mid”) to Patterns. This allows you to use in MASCHINE MIDI files prepared with another application. This function is only available in the software. Importing MIDI data into a Pattern that already contains data (note, modulation tracks, and MIDI tracks) will replace that data.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the Group in the Group List and select Import MIDI… from the context menu. You can alternatively right-click ([Ctrl]-click on macOS) the Group name in the header above the Sound List and select the same entry. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Group in the Group List left of the Arranger. → The MIDI file will be imported to the selected Pattern of the Group according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ◦ For each Sound, MIDI notes will be imported at the default root note C3 — this ensures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦ The MIDI CC data will be copied to all Sounds for which MIDI notes have been imported.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import MIDI… from the context menu. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm. → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. Method 2: via drag and drop 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor). → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. If the Pattern Editor is in Keyboard view, you can also drag the MIDI file directly onto the Event area to import it into the focused Sound! Method 3: using the FILES pane of the Browser 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑3.6, Loading and Importing Files from Your File System to know how to use the FILES pane). 5. Double-click the MIDI file or click it and press [Enter] on your computer keyboard. → The MIDI file will be imported to the selected Pattern for the focused Sound according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser. 2. Drag and drop the multiple selection onto the desired Group in the Group List. → New Patterns will be created for that Group. Apart from this, each new Pattern receiving the data from one of the MIDI files. Apart from this, each MIDI file will be imported as a single MIDI file to that Group — see above for a detailed description.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 2. Drag and drop the multiple selection onto the desired Sound in the Sound List. → New Patterns will be created for that Sound in the Group, each new Pattern receiving the data from one of the MIDI files. Only this Sound will contain notes in these new Patterns. Apart from this, each MIDI file will be imported as a single MIDI file to that Sound — see above for a detailed description.
Audio Routing, Remote Control, and Macro Controls 11 Audio Routing, Remote Control, and Macro Controls This chapter describes a few important topics and features of MASCHINE’s routing and assignment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪ We will explain how MASCHINE’s audio routing works and how to take advantage of its flexibility: ↑11.1, Audio Routing in MASCHINE.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 11.1 Audio Routing in MASCHINE MASCHINE offers a powerful audio routing system that you can finely customize to fit your specific needs. To make it short, by default the various channels of MASCHINE are structured in a simple, hierarchical way: ▪ At the bottom level, each Sound has its own channel. The output of the Sound’s channel is sent to its parent Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Mix View or Arrange View? When it comes to adjusting audio and MIDI routings, the Mix view can sometimes be the most efficient way to do: The familiar mixing desk layout allows you to quickly find the parameters you are looking for and adjust the routing on the fly. Hence, in the following sections we describe the procedures in both Arrange view and Mix view.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Input properties is available for Sounds only. MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the features of the Input Module available in previous MASCHINE versions. The Audio page of the Input properties for a Sound in the software. The AUDIO page of the Input properties for a Sound on the controller. Please refer to section ↑2.3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Source Selects an external audio input to be routed to the Sound. Available entries are None (no external input) and the four external stereo inputs Ext. 1–4, as well as any additional output(s) of multipleoutput Plug-ins loaded in other Sounds of the same Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. This is equivalent to setting the Source parameter described above. 6. Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 11.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any. Similarly, by default the outputs of all Groups are sent to the Master, where they are mixed together and processed by the Plug-ins loaded in the Master, if any.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller. Controls Description AUDIO Section Dest. Selects where you want to send the main audio output of your channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Pan Defines the pan position of the channel in the stereo field. Audio Mute (Sounds only) If you enable Audio Mute, muting this Sound will not only bypass its events but also mute its audio output, thereby muting any audio tails from notes already played. See section ↑5.4.1, Mute and Solo for more information. If MASCHINE is running as a plug-in, the external stereo outputs Ext.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Group mode. In Keyboard mode, the knobs are not visible. Configuring the Main Outputs of Sounds and Groups in Mix View You can also easily configure the outputs of your Sounds and Groups in MASCHINE’s Mixer: 1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. To select another destination for the channel’s output, click the first area under the level meter, and select the desired destination in the menu. This is equivalent to setting the Dest. parameter described above. 11.1.3 Setting Up Auxiliary Outputs for Sounds and Groups Each Sound or Group of your Project provides two auxiliary outputs that you can route to additional targets.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. The AUX page of the Output properties (here for a Group) on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Aux page of the Output properties in the software and from your controller. Controls Description AUX 1 / AUX 2 Section Dest.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Level Adjusts the level of the signal sent to the Aux 1 or Aux 2 output. Order If Order is set to Pre, the channel will be fed into Aux 1 or Aux 2 before the Level and Pan settings of the MAIN section on the Audio page are applied. If Order is set to Post (default setting), the Level and Pan settings of the main output also affect the signals sent to the auxiliary outputs.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Check that the AUX button is active on the left of the Mixer — if not, click it to enable it and display the settings for the auxiliary outputs of each channel strip. 4.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 6. Adjust the level for that auxiliary output via the little knob at the right of the menu. This is equivalent to setting the Level parameter described above. 7. Set the pre/post state of the auxiliary output by clicking the Post (or Pre) label right under the menu. This is equivalent to setting the Order parameter described above. 11.1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Output properties for the Master in the software. The AUDIO page of the Output properties for the Master on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description CUE Section Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1– 16. By selecting a different output from the one used for the main stereo output, you can effectively pre-listen on this additional output (e.g., on your headphones) any channel(s) currently sent to the Cue bus.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath. In this Master/Cue channel strip, do the following to configure the output of the Master channel: 1. Click Master in the strip’s header to show the controls for the Master channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. To adjust the level and panoramic position of the main output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the MAIN section, respectively (see above). 3. To select another destination for the Master output, click the first area under the level meter and select the desired destination in the menu.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 1. Click the headphone icon in the strip’s header to show the controls for the Cue channel. 2. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the CUE section, respectively (see above). 3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 11.1.5 Mono Audio Inputs Each Sound can be configured to receive external stereo or mono audio signals. You may use audio signals from outside MASCHINE (from your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used in plug-in mode). MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external mono or stereo input.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 11.1.5.1 Configuring External Inputs for Sounds in Mix View You can also easily send stereo or mono external audio to Sounds in MASCHINE’s Mixer: 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE ▪ The Mixer displays the channel strips of all Sounds in the selected Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. ▪ This is equivalent to setting the Source parameter described above. 6. Turn the little knob on its left to adjust the input gain.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 11.2 Using MIDI Control and Host Automation MASCHINE provides you with flexible MIDI remote control and host automation facilities that can be used in many situations.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Outgoing MIDI You can also sending MIDI data from Sounds. For example, when MASCHINE is running as a plug-in in a host environment, this allows you to record your performance on the pads as a MIDI pattern in your host application. This is described in section ↑11.2.5, Sending MIDI from Sounds. 11.2.1 Triggering Sounds via MIDI Notes MASCHINE allows you play your Sound(s) via MIDI (e.g., from a MIDI keyboard).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ MIDI input settings of a Sound and its parent Group are merged: For example, if you configure a Group to react to incoming notes on MIDI channel 1, but one Sound is setup to react to incoming notes on MIDI channel 2, then this Sound will react to one incoming note on MIDI channel 1 and all incoming notes on channel 2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Input properties (here for a Group) on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Input properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description MIDI ROUTING Section Key Mode (Group mode only) Enables the MIDI note input for the selected Group (disabled by default). Please refer to your host documentation to find out how to route MIDI signals to your MASCHINE plug-in. Key Mode offers the following options: Off: Select this option to disable MIDI note input for the selected Group.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Source (stand-alone and Select the MIDI port on which the Sound or Group will receive MIDI in Manual mode only) notes. Available entries are None (MIDI note input disabled, default setting), All (MIDI notes are received on all enabled input ports), and each enabled MIDI input port.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Some of these parameters also affect MIDI file import: The Channel parameter of a Sound will be used when importing a multi-channel MIDI file to its Group, while the Root Note parameter will be used when importing a single-channel MIDI file to the Group. For more information on MIDI file import please refer to section ↑10.8.3, Importing MIDI to Patterns.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. Above the fader area in the channel strip of the Sound or Group you want to configure, click the bigger field on the right (labeled MIDI IN by default) and select the desired MIDI port in the menu.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 5. Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above. 11.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes. When MASCHINE runs as a Plug-in this MIDI data is sent to the host application.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. ▪ This opens the following dialog: ▪ Click Scene Enabled from the dialog. 4. In the submenu that opens, select the source you want to use for changing the MIDI Program Change messages. A list of connected controller names appear in the drop-down menu, or you can select None to disable the feature. 5.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from the MIDI source. Corresponding Lock snapshots will not be recalled. ► For more information on MIDI Lock Changes refer to ↑5.6.7, Triggering Lock Snapshots via MIDI. 11.2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Modulation Automation Source of control Internal (e.g., changes recorded via Auto-write) External (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. In the left part of the Assignment area, click the Automation tab: → The Automation tab lights up and the Automation pane appears on its right. You are now ready to configure MIDI and host automation for the parameters in the current Parameter page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A MIDI CC assignment for the current Parameter page. A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host automation IDs to MASCHINE parameters. Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ Plug-ins: ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button (EQ section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the Cue button in the Audio page. ◦ Group’s Input properties: the Root Note knob in the MIDI page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. On the left of the Assignment area, click the Automation tab to show the Automation pane, then in this pane click the Host tab. 3. Click the Enable label in the Assignment field under any unassigned parameter to automatically assign that parameter to the next free automation ID. → The Assignment field displays the automation ID for that parameter. The parameter is ready to be controlled from your host.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation → The previous automation ID is removed from the Assignment field and the parameter is not available anymore for host automation. For more information on how to automate VST/AU plug-in parameters from your host, please refer to your host documentation. Assigning MIDI Controls to Parameters Assigning a MIDI control to a parameter in MASCHINE is done via an intuitive Learn mode: 1.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Click Learn in the Assignment field of a parameter to enter Learn mode for that parameter. The Assignment field shows a blinking Learning. 4. Move the desired control element (knob, button, etc.) on your MIDI controller. → The Assignment field automatically displays the MIDI message type received (CC number, PC for Program Change, or PW for Pitchbend). The parameter is ready to be controlled via MIDI.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ► Right-click ([Ctrl]-click on macOS) the non-empty Assignment field under a parameter and select Unlearn in the menu to remove the MIDI assignment for that parameter. → The MIDI assignment is removed from the Assignment field and the parameter is not controllable via MIDI anymore. Of course, this procedure also works for Native Instruments and External Plug-ins loaded in MASCHINE. 11.2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 11.2.5 Sending MIDI from Sounds Your Sounds can output MIDI notes and automation data to the outside world, allowing you to control any MIDI-capable application and/or external MIDI gear from MASCHINE’s sequencer. With its MIDI output enabled, a Sound will send: ▪ MIDI notes corresponding to the notes played by that Sound in the current Pattern. ▪ MIDI notes corresponding to your hits on the pads.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Output properties for a Sound on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Output properties in the software and from your controller. Control Description MIDI Section Dest. Selects the MIDI port on which the Sound will send MIDI data.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description Channel Selects the MIDI channel on which the Sound will send MIDI data. By default Sound slot 1 will send MIDI data on channel 1, Sound slot 2 on channel 2, etc. Transpose Applies an offset to the MIDI note numbers before the notes are sent. Values range from -48 (downward transposition by 48 semitones, i.e. four octaves) to +48 (upward transposition by 48 semitones, i.e. four octaves).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group. The Mixer displays the channel strips of all Sounds in the selected Group. 5.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 6. Click the little field on its right to select a MIDI channel. This is equivalent to the Channel parameter described above. 11.3 Creating Custom Sets of Parameters with the Macro Controls Macro Controls enable you to control in one same location a selection of parameters coming from different sources.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties (here for a Sound) on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Macro properties in the software and from your controller. 11.3.1 Macro Control Overview Each Macro Control can be assigned to one destination with the full range of the selected parameter.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Linking the same parameter to more than one Macro Control can be useful in the following example: If a parameter of a Sound is particularly important, you can link it to the same knob in the Macro Controls of that Sound, of its parent Group, and of the Master.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls ⇨ The parameter is assigned as a Macro and you can see your assignments by selecting Macro in the Channel properties and selecting the Macro level (MASTER, GROUP or SOUND) where you assigned the Macro Control. 4. To remove a Macro, right-click the parameter again and select Remove Macro. → The selected Macro is removed.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Once the Assignment area is open, when you switch to other Parameter pages the Assignment area follows your selection: it always shows the assignments for the page currently displayed above. The Pages tab can be clicked only for Plug-ins, External MIDI device Control Change assignments, and for Macro properties.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls (3) Section Label fields: These fields allow you to define sections of parameters within the displayed page. Double-click the field above the first parameter you want to include in the section, type the desired name for the section, and press [Enter] to confirm.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 1. Click the Select menu (for now the only menu of the Target selector).
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro. Cut Cut the Macro to paste it in another position. Ctrl + X / Cmd + X Copy Copy the Macro. Ctrl + C / Cmd + C Paste Paste a cut or copied Macro to a new position.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control Area Assignment Pages context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 11.3.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls → The parameter is assigned as a Macro and a small icon will appear next to the parameter name. You can see the Macro assignments for each level by pressing the MACRO button on your controller and selecting the Macro level (MASTER, GROUP or SOUND). Macro Controls are saved with a MASCHINE Project, so don’t forget press SHIFT + FILE (Save) once you have assigned all your Macros.
Controlling Your Mix Mix View Basics 12 Controlling Your Mix The default view of the MASCHINE software is the Arrange view, which contains the Arranger at the top, the Control area in the middle, and the Pattern Editor / Sampler Editor at the bottom.
Controlling Your Mix Mix View Basics The Mix View button. ► Click the Mix View button at the top left of the Arranger to switch between the Arrange view and the Mix view. ► Press the MIXER button to display Mix view on the controller. Press the MIXER button again to return to the previous view. 12.1.
Controlling Your Mix Mix View Basics 1 2 3 The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom. (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project. You can change these settings on the fly, select or put the focus on any channel, etc.
Controlling Your Mix The Mixer 12.2 The Mixer Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and routing settings of different channels in one go. The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
Controlling Your Mix The Mixer ▪ Which of the Sound or Group level is selected for displaying: ↑12.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑12.2.2, Adjusting the Mixer Layout. 12.2.1 Displaying Groups vs. Displaying Sounds The Mixer provides two display modes, allowing you to focus on the current context: ▪ Group level: The Mixer shows channel strips for all Groups of your Project.
Controlling Your Mix The Mixer In this mode the desk’s input strips (1) represent all Groups of your Project, while the output strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the headers of all your Groups and of the Master/Cue channel (3). The focused channel is highlighted.
Controlling Your Mix The Mixer → If the Mixer was displaying Sound strips beforehand, it will display all Group strips instead, and the Group you have double-clicked will be focused. If the Mixer was displaying Group strips beforehand, it will instead display all Sound strips of the Group that you have double-clicked. The last focused Sound slot in that Group will be focused again.
Controlling Your Mix The Mixer Showing/Hiding Particular Sections of the Strips Both when displaying all Group channels or all Sound channels of a particular Group, the Mixer allows you to select which sections you want to show or hide in the strips currently displayed. This is done via the three buttons on the left of the Mixer, under the arrow expanding the Mixer: Choosing what to display in the channels.
Controlling Your Mix The Mixer ▪ When the Mixer displays the Sound strips of a Group, when you click another Group header in the top row the Mixer will stay at the Sound level and directly display to the Sound strips of this other Group. ▪ You can select more than one channel strip among the strips displayed. The focused strip is always selected. The multiple selection follows the same rules as in Arrange view (see section ↑4.1.3, Selecting Multiple Sounds or Groups).
Controlling Your Mix The Mixer The channel’s context menu provides the exact same entries as in Arrange view. Following management commands are available in the Mixer: Management Command Action Renaming channels Double-click the channel name in the header, type the desired name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also open the channel’s context menu and select Rename. See section ↑4.2.3, Renaming Sound Slots and ↑4.3.3, Renaming Groups.
Controlling Your Mix The Mixer 12.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the various Plug-ins loaded in the channel, then goes through the pan and level controls, and finally arrives to the output routing settings at the bottom.
Controlling Your Mix The Mixer Available Settings in Sound/Group Channel Strips We list here all the elements available in a full channel strip. For each element we indicate the basic operation and the corresponding parameter in Arrange view. If some of the settings are not visible, check that the Mixer is not minimized and that the relevant button is enabled at the left of the Mixer — see section ↑12.2.2, Adjusting the Mixer Layout for more information.
Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ↑12.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ↑12.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also use the Rename entry in the channel’s context menu.
Controlling Your Mix The Mixer This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange view. For all details, see section ↑6.1, Plug-in Overview. (5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue state. Following actions are available: ▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level parameter in the Audio page of the channel’s Output properties (see ↑11.1.
Controlling Your Mix The Mixer (8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if the IO button is enabled on the left of the Mixer. Click the MIDI OUT label to select a MIDI output port, then select a channel via the additional menu on the right. These controls are equivalent to the Dest. and Channel selectors in the MIDI page of the Sound’s Output properties (see ↑11.2.5, Sending MIDI from Sounds). Parameter modulation is not indicated in the Mixer.
Controlling Your Mix The Mixer ▪ Pre-listening to Samples in the Browser (see section ↑3.3.3, Auditioning Samples). ▪ Metronome (see section ↑10.2.3, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ↑16.2.2, Selecting the Source and the Recording Mode) or slicing Samples (see section ↑16.4, Slicing a Sample). Sending Sound and Group Channels to the Cue Bus ► In any channel strip, click the little headphones button to send this channel to the Cue bus.
Controlling Your Mix The Plug-in Chain 2. Click the headphone icon in the Master header. → The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue channel’s level and panoramic position, along with the destination you want to send the Cue channel to. As destination, choose for example another output pair into which you will have plugged your headphones. These settings are described in section ↑11.1.4, Configuring the Master and Cue Outputs of MASCHINE. 12.
Controlling Your Mix The Plug-in Strip ▪ Click the little square on the left of a Plug-in name to bypass this Plug-in slot (bypassed slots are grayed out). Click the little square again to unmute the Plug-in slot and insert the Plug-in back into the processing chain. See section ↑6.1.5, Bypassing Plug-in Slots for more information.
Controlling Your Mix The Plug-in Strip ▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑12.4.1, The Plug-in Header. ▪ Internal Effects and Drumsynths have their own custom panels: ↑12.4.2, Panels for Drumsynths and Internal Effects. ▪ The Sampler Plug-in has a special, extended panel: ↑12.4.3, Panel for the Sampler. ▪ Native Instruments Plug-ins provide dedicated panels inspired from the user interface of each particular Native Instruments product: ↑12.4.
Controlling Your Mix The Plug-in Strip Use the horizontal scroll bar to display the other Plug-in panels. If the MASCHINE window is not high enough for any Plug-in panel to be displayed entirely, a vertical scroll bar appears on the right of the panel to display the hidden part: Use the vertical scroll bar to display the rest of the Plug-in. 12.4.
Controlling Your Mix The Plug-in Strip 2 3 4 1 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑12.4.4, Custom Panels for Native Instruments Plug-ins for more on this.
Controlling Your Mix The Plug-in Strip 12.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top. This Header contains the name of the current preset and the Quick Browse icon — see section ↑12.4.
Controlling Your Mix The Plug-in Strip For an exhaustive description of the parameters available in each panel, please refer to chapter ↑8, Using the Drumsynths for Drumsynths and chapter ↑14, Effect Reference for Internal Effects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the value of modulated parameters might change even if their control element doesn’t move in the panel. See section ↑10.
Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane 1 2 3 7 4 6 5 The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides the same features as the waveform found in the Sample view of the Zone page in the Sample Editor: Start and End markers, zooming, etc. For more details, see section ↑16, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parameters from the Pitch/Envelope page in the Control area. For more details, see section ↑6.2.2, Page 2: Pitch / Envelope. (5) SATURATION, LO FI, and FILTER sections: Allows you to adjust the parameters from the FX/ Filter page in the Control area. For more details, see section ↑6.2.3, Page 3: FX / Filter.
Controlling Your Mix The Plug-in Strip The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample Map: Allows you to adjust the key and velocity ranges of your Zones. This the same as the Map view available in the Zone page of the Sample Editor. For more details, see section ↑16, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of ABSYNTH 5: MASCHINE - Manual - 618
Controlling Your Mix The Plug-in Strip ▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE - Manual - 619
Controlling Your Mix The Plug-in Strip ▪ GUITAR RIG’s Default view shows a mini Rack with a reduced version of the Global Header at the top: As with all other Plug-ins, the panel for Native Instruments Plug-ins shows the Plug-in Header at the top containing a button for opening the Plug-in in a floating window as well as the name of the current preset and the Quick Browse icon — see section ↑12.4.1, The Plug-in Header above for more details.
Controlling Your Mix The Plug-in Strip Click the little “+” in the Header to switch between Default and Additional view. macOS users: The VST plug-in of a Native Instruments product must be installed for this product’s Default view (and Additional view, if any) to appear in the Plug-in Strip. If you normally use the AU version of this Native Instruments product, please check that its VST version is also installed on your computer to ensure the perfect integration of this plug-in into MASCHINE.
Controlling Your Mix The Plug-in Strip → The Plug-in shows up in its own floating window. When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin Plug-in placeholder (see below). Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu. MASCHINE will always show the open floating windows of the focused channel (Sound, Group or Master).
Controlling Your Mix Controlling Your Mix from the Controller ▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s elements described in section ↑12.4.
Controlling Your Mix Controlling Your Mix from the Controller When Mix mode is active, the MIXER button is lit. In Mix mode the displays show channel strips for your Sounds and Groups: 12.5.1 Navigating Your Channels in Mix Mode Like the Mixer in the software, the Mix mode lets you choose to display channel strips at the Group level (i.e. all your Groups) or at the Sound level (i.e. all Sound slots of the Group currently focused).
Controlling Your Mix Controlling Your Mix from the Controller Mix Mode – Displaying the Sound Level ► To display the Sound channels of the focused Group, push the 4-D encoder downwards. The channel strips on the displays represent the Sound slots of the focused Group. At the top of the displays you see two rows: ▪ The first row contains the headers of your Groups. The header of the focused Group is highlighted. ▪ The second row contains the headers of the Sound slots in the focused Group.
Controlling Your Mix Controlling Your Mix from the Controller In each channel strip the peak value is indicated above the level meter. This peak value is reset each time you start the playback via PLAY or RESTART on your controller, or when you click the corresponding peak value in the software’s Mixer (see section ↑12.2.5, Adjusting Settings in the Channel Strips). See also 2 Adjusting Settings in the Channel Strips [➙ 602] 12.5.
Using Effects Applying Effects to a Sound, a Group or the Master 13 Using Effects At each Project level (Sound, Group and Master) it is possible to add effects in form of Plugins. Each Sound, each Group and the Master can have an unlimited number of insert effects loaded in their Plug-ins slots. In each Plug-in slot you can load an Internal, Native Instruments or External Effect Plug-in.
Using Effects Applying Effects to a Sound, a Group or the Master Choose the Channel in Which the Effect Is to Be Inserted 1. If you want to apply the effect to the Master (to process the audio of the whole Project), click the MASTER tab in the top left corner of the Control area. 2. If you want to apply the effect to a Group (to process the audio of the whole Group), click the desired Group on the left of the Arranger, and click the GROUP tab in the top left corner of the Control area. 3.
Using Effects Applying Effects to a Sound, a Group or the Master Load the Effect in a New Slot 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins of the selected channel: The icon lights up. The Plug-in List appears nearby, showing a stack of all Plug-ins already loaded in the channel: In the Plug-in List each Plug-in has its own slot. 2. Click the “+” icon under the last Plug-in in the list (or at the top if the list is empty).
Using Effects Applying Effects to a Sound, a Group or the Master If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows all available Instrument Plug-ins. 3. Click the desired entry in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (for Native Instruments products) or External (for third-party products) submenu at the top of the list.
Using Effects Applying Effects to a Sound, a Group or the Master Notes and Hints on Loading Effects in the Software ▪ Instead of clicking the “+” icon to load the effect in a new slot, you can also click the down-pointing arrow on the right of an existing slot to open the Plug-in menu: The effect selected in the menu will replace the Plug-in currently loaded in that slot. ▪ Instead of using the Plug-in menu, you can also use the Browser to load a particular preset for an effect.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If it’s not already open, open the extended view of the Mixer by clicking the down-pointing arrow at the left of the Mixer: 3. Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display the Plug-in List in each channel strip. Then, put the focus on the channel (Master, Group or Sound) in which you want to load the effect: 1.
Using Effects Applying Effects to a Sound, a Group or the Master 3. To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel strips, in the Mixer’s top row double-click the blank space in the header of the Group containing the desired Sound, then click the header of the desired Sound in the row below.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If you want to apply the effect to the Master (to process the audio of the whole Project), press Button 1 to select the MASTER tab. 3. If you want to apply the effect to a Group (to process the audio of the whole Group), press Button 2 to select the GROUP tab and press the Group button A–H corresponding to the desired Group.
Using Effects Applying Effects to a Sound, a Group or the Master 10. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly. 11. Leave the Plug-in Browser and switch back to Control mode by pressing the 4-D encoder or PLUG-IN. → The effect is loaded in the selected Plug-in slot and it is automatically displayed on your controller.
Using Effects Applying Effects to a Sound, a Group or the Master 13.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably includes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc. Here we provide a reminder of every operation available on the effects both in Arrange view and Mix view.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Bypass an effect Click the FX icon (in Arrange view) or the little square (in Mix view) at the left of the effect name in the Plug-in List. Click again to re-enable the effect. Save the current effect settings as preset Open the Plug-in menu, and select Save As… at the bottom of the menu.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Insert another effect after the Press SHIFT + Button 3. selected effect The Browser automatically opens and lets you select the desired effect preset to be inserted after the Plug-in currently selected. Replace the effect Use the Plug-in Browser (press SHIFT + BROWSE) or the Browser (BROWSE) as described in section ↑13.1.1, Adding an Effect above. Remove the effect Press SHIFT + Button 8.
Using Effects Applying Effects to a Sound, a Group or the Master What Is a Side-Chain Input? If we consider an effect unit that processes the signal incoming at its main input, side-chaining means using a secondary signal (the “side-chain signal”) fed to a secondary input of the unit (the “side-chain input”) to control the behavior of the processing. Usually the amplitude of the side-chain signal will determine how much the main signal will be processed by the unit.
Using Effects Applying Effects to a Sound, a Group or the Master The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑2.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access Parameter pages. The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
Using Effects Applying Effects to External Audio Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Center Freq Adjusts the center frequency of the filter. Width Adjusts the bandwidth of the filter.
Using Effects Applying Effects to External Audio If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from your host on any of its eight mono virtual inputs. To know how to route audio in your host to the virtual inputs of the MASCHINE plug-in, please refer to your host documentation. When this is done, go directly to section ↑13.2.2, Step 2: Set up a Sound to Receive the External Input.
Using Effects Applying Effects to External Audio Any audio source plugged into the first input of your audio interface will be available on the In 1 L input of MASCHINE, and so on. See ↑2.6.2, Preferences – Audio Page for more information on the Audio page of the Preferences panel.
Using Effects Applying Effects to External Audio MASCHINE in Plug-in Mode If MASCHINE is running as a plug-in in a host environment, the MASCHINE plug-in can receive audio from the host only. Please refer to your host documentation to find out how to route audio channels to the virtual audio inputs of the MASCHINE plug-in. In this example, we will assume that you routed some audio channels of your host to the first virtual input pair of MASCHINE. 13.2.
Using Effects Applying Effects to External Audio 5. Turn Knob 1 to set the SOURCE to Ext. 1. → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). Method 2: Using the Navigate Page 1. Press Button 5 repeatedly until the Input properties are selected (you should see INPUT at the top left of the right display, under Button 5/6). 2. Press SHIFT + NAVIGATE + pad 1 to select the Audio Parameter page.
Using Effects Applying Effects to External Audio → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). 13.2.3 Step 3: Load an Effect to Process an Input Here we describe the procedure in Arrange view. You can also do this in Mix view — see section ↑13.1.1, Adding an Effect. You can now insert an Effect Plug-in into this Sound so that it processes the incoming audio. 1.
Using Effects Applying Effects to External Audio 3. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (Native Instruments products) or External (third-party products) submenu at the top of the list. → Upon your selection the effect is loaded in a new Plug-in slot and directly starts to process your external audio! Loading an Effect to Process an Input on the Controller On your controller: 1.
Using Effects Creating a Send Effect 6. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly. → The selected effect is loaded in a new Plug-in slot and directly starts to process your external audio. By pressing PLUG-IN or SHIFT + BROWSE again you can switch back to Control mode and adjust the effect. 13.
Using Effects Creating a Send Effect 2. At the far left of the Control area, click the Plug-in icon to display the Plug-ins of the Sound: The icon lights up. The Plug-in List appears. Since we have chosen an empty Sound, the Plug-in List should be empty: 3. Click the “+” icon at the top of the Plug-in List. The Plug-in menu opens and shows a list of all available Instrument and Effect Plug-ins. 4. Click the desired effect in the list.
Using Effects Creating a Send Effect → Upon selection the effect is loaded and its parameters are displayed in the Parameter area. When you load an effect into the first Plug-in slot of a Sound, MASCHINE automatically configures the Sound’s input to receive any signal(s) coming from other Sounds and Groups in your Project and sends them through its own Plug-in slots — in other words, you now have a send effect. You could also load an effect preset from the Browser instead of using the Plug-in menu.
Using Effects Creating a Send Effect 4. Press SELECT + the unlit pad of the empty Sound you want to use (or simply hit its unlit pad if pads are in Group mode). Since we have selected an empty Sound, you see (NONE) under Button 7/8 and these buttons are inactive (i.e. there are no Plug-ins to navigate yet). 5. Press SHIFT + BROWSE to open the Plug-in Browser and browse the available Instrument and Effect Plug-ins. 6. On the left display, turn Knob 1 to select the TYPE to Effect.
Using Effects Creating a Send Effect 9. When you have found the effect you want to use (e.g., the MASCHINE Compressor), press the 4-D encoder or Button 8 to load it. You can also use Button 5/6 to step through the list and load each effect directly. 10. Switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT + BROWSE again). → Now you can edit the effect parameters using Knobs 1–8 and the Page buttons as usual (see ↑2.3.
Using Effects Creating a Send Effect 13.3.2 Step 2: Route Audio to the Send Effect Once you have configured a Sound or Group as send effect (see ↑13.3.1, Step 1: Set Up a Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to that Sound or Group. For this purpose, each Sound and each Group is equipped with an additional two auxiliary outputs available in its Output properties. Here we describe the procedure in Arrange view.
Using Effects Creating a Send Effect 4. Press Button 5/6 to select OUTPUT. The Output properties are shown in the displays of your controller (in the example underneath we show the Output properties of a Sound). 5. Press the right Page button to select the Aux page of parameters. 6. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect.
Using Effects Creating a Send Effect and number followed by the Sound number (in the example underneath we selected the entry A1:S1-1 for the Aux 1 output). 7. Use Knob 2 (Aux 1 LEVEL) to adjust the level of the signal sent to that auxiliary output. The signal of each auxiliary output is taken by default after the main output level control has been applied. This can be changed via Knob 3 (Aux 1 ORDER). For more information, please see section ↑11.1.3, Setting Up Auxiliary Outputs for Sounds and Groups.
Using Effects Creating Multi-Effects When setting up complex routings, please take care to avoid feedback loops! In addition, the following points are worth noting: ▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many Sounds and Groups instead of loading another reverb in each Sound/Group makes a big difference on the CPU load. You can adjust at which extent the reverb must be applied on each Sound/Group via the respective Level controls in their Output properties.
Using Effects Creating Multi-Effects ▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plugin List in a single Sound. ▪ You can rename and colorize each Sound individually according to the effect(s) it contains. ▪ You have a better control on your whole effect sequence from your controller. ▪ You can easily re-arrange your effect sequence by changing the routing between your Sounds.
Using Effects Creating Multi-Effects However, take time to name every Sound in this multi-effect Group after the effect(s) inserted and to give it a name that allows you to recognize it as an effect; remember that you will be choosing this effect from a potentially large list in your user library. In the MASCHINE Library there are already a number of multi-effect Groups tagged Multi FX: Groups of the Multi FX type in the LIBRARY pane.
Effect Reference 14 Effect Reference MASCHINE provides a healthy selection of more than 20 different Effect Plug-ins that can be quickly applied to Sounds, Groups and the Master, all as insert effects. By using MASCHINE’s powerful routing system, it is also easy to setup send effects, build complex effect chains or apply an effect to an external source that is connected to your audio interface, such as an instrument, vocals or a turntable.
Effect Reference Dynamics 14.1 Dynamics 14.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dynamic range. In addition to the legacy Classic mode, the Compressor provides an alternate Feedback mode. If this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the Control area and on your controller).
Effect Reference Dynamics Parameter Description MODE Section Mode Selects between two operation modes: Classic (default setting) and Feedback. Whereas Classic mode generates a cleaner and more precise compression, Feedback mode introduces a subtle change in transient shape and frequency responsiveness. The memory-based envelope detection along with the kneedependent ratio and gain give this mode a typical vintage feel.
Effect Reference Dynamics The Compressor on the controller: MAIN page. Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Level Meters in the Compressor Panel (Plug-in Strip) In the Plug-in Strip, the Compressor panel offers a few extra features not available in the Control area: ▪ The Threshold and Gain faders (corresponding to the Threshold and Gain parameters of the Main page in the Control area) provide level meters for visual monitoring of the input and output levels.
Effect Reference Dynamics Main Page The Gate in the Control area: Main page. Parameter Description DEPTH Section Threshold This value determines the threshold at which the Gate starts to work. Higher values will let only the loudest parts of the signal through the Gate.
Effect Reference Dynamics The Gate on the controller: MAIN page. Side-Chain Input Page The Gate in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Gate Panel (Plug-in Strip) In the Plug-in Strip, the Gate panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level. By comparing this input level with the position of the Threshold fader, you can easily see you which parts of the signal will pass through the Gate. 14.1.
Effect Reference Dynamics The Transient Master in the Control area. Parameter Description DEPTH Section Input Gain Adjusts the level of the input signal. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur. Attack Sharpens/softens the attack phases in your signal. With the knob at the middle position, the attack phases are not altered.
Effect Reference Dynamics The Transient Master on the controller. 14.1.4 Limiter The Limiter does two things: firstly it ensures that the signal level stays below 0 dB, thus preventing digital clipping. But it can also increase the overall perceived volume by reducing the threshold. It is recommended to place the Limiter in a Master Plug-in slot. However, please note that the Limiter introduces a small latency.
Effect Reference Dynamics Main Page The Limiter in the Control area: Main page. Element Description MODE Section Mode Selects from two different limiter types. The available modes are Legacy and Transparent. DEPTH Section (Transparent mode only) Threshold This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB; if you want to make your signal louder, dial the Knob to the left. Available values range in decibels from -40.
Effect Reference Dynamics The Limiter on the controller: MAIN page. Side-Chain Input Page The Limiter in the Control area: Side-Chain Input page. The Modulation page contains one parameter: Velocity.
Effect Reference Dynamics Element Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds, and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: ▪ For Groups: [Group name] (e.g., Drums) ▪ For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Limiter Panel (Plug-in Strip) In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level.
Effect Reference Dynamics Parameter Description DEPTH Section Amount This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal. Curve Controls the compression knee; higher values tend to result in faster and more aggressive gain control. Turbo Turbo intensifies the effect the Maximizer has on the signal by causing the maximizing algorithm to be applied twice. The Maximizer on the controller: MAIN page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 14.2 Filtering Effects 14.2.1 EQ Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can also be used as a DJ-style cut-and-boost effect. Please note that in the Control area and on your controller the EQ parameters are spread over two pages. The EQ panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. LOW-MID Section Freq Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. HIGH-MID Section Freq Frequency selector for the second mid-frequency band.
Effect Reference Filtering Effects The EQ on the controller: FREQ / GAIN page. Width / Output Page The EQ in the Control area: Width / Output page. Parameter Description LOW-MID Section Width Bandwidth control for the first mid-frequency band. HIGH-MID Section Width Bandwidth control for the second mid-frequency band. OUTPUT Section Gain Gain control for the EQ altogether.
Effect Reference Filtering Effects 14.2.2 Filter Filter with selectable characteristics that can be modulated via LFO or envelope. There are many applications for a filter: it can be used to emulate a synthesizer more realistically or to filter out selected frequencies and create filter-sweeps. If this effect is used in a Sound or a Group, it provides a Side-Chain Input page (in the Control area and on your controller). The Filter panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description FREQ Section Cutoff Controls the cutoff frequency of the filter. Resonance Controls the amount of resonance, i.e. the amount of amplification near the cutoff frequency. It is not available with filter mode Notch. MOD Section Amount This defines how much the Filter gets modulated by the modulation source. Source Here you can select between three different modulation sources: LFO, LFO Sync, and Envelope.
Effect Reference Filtering Effects The Filter on the controller: MAIN page. Side-Chain Input Page The Filter in the Control area: Side-Chain Input page.
Effect Reference Filtering Effects Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 14.2.3 Cabinet The Cabinet Emulation is a cabinet and microphone component that proves full control over all the (post-amp) stages of recording a guitar tone. Cabinet Emulation includes the four cabinet types, and the variable positioning of six different microphones. The Cabinet Emulation effect in the Plug-in Strip. The Cabinet Emulation in the Control area (Main page depicted).
Effect Reference Modulation Effects Element Description ▪ Vintage Cabinet ▪ Modern Cabinet MICROPHONE Section Microphone Selects from six different microphone types, which includes: ▪ Dynamic 57 ▪ Dynamic 421 ▪ Dynamic 441 ▪ Ribbon 121 ▪ Condenser 47 ▪ Condenser 67 Distance Adjusts the distance of the microphone from the cabinet. Available values range from 0.0 to 100.0% (default: 0.0%). OUTPUT Section Mix Adjusts the ratio between the effect (wet) signal and original (dry) signals.
Effect Reference Modulation Effects The Chorus panel in the Plug-in Strip. The Chorus in the Control area. Parameter Description MOD Section Rate The Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated. Amount The amount of the Chorus effect. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Modulation Effects The Chorus on the controller. 14.3.2 Flanger Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the Chorus, but the difference between them is that the Flanger modulates the signal faster, it is equipped with a feedback mechanism, and can be synchronized to the tempo of the Project. The Flanger panel in the Plug-in Strip.
Effect Reference Modulation Effects The Flanger in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Flanger. Feedback Adjusts the amount of output signal fed back into the input. Invert Inverts the Flanger. MOD Section Amount This defines how much the Flanger gets modulated by the modulation source. Source Here you can select the modulation source of the Flanger: available options are LFO, LFO Sync, and Envelope.
Effect Reference Modulation Effects The Flanger on the controller. 14.3.3 FM FM modulates the frequency of the audio signal based on FM synthesis. High frequency settings are useful for adding a subtle “gritty” texture to the input signal. The FM panel in the Plug-in Strip. FM in the Control area.
Effect Reference Modulation Effects Parameter Description FREQ Section Rate This is for adjusting the speed of the FM modulation. Split The Split control determines the extent to which the FM effect is applied to high frequencies via a crossover. Turn to the right to affect higher frequencies. It can be useful to eliminate noise artifacts caused by FM of very high signals. With high Split settings, the effect becomes more “gritty” and crackling.
Effect Reference Modulation Effects The Freq Shifter panel in the Plug-in Strip. The Freq Shifter in the Control area. Parameter Description FREQ Section Coarse This is used to define the basic frequency of the Freq Shifter. Fine Fine-tune the frequency here. OUTPUT Section Feedback Adjusts the amount of output signal fed back into the input. Increasing this parameter will increase the intensity of the effect. Stereo This parameter widens the stereo field of the effect.
Effect Reference Modulation Effects The Freq Shifter on the controller. 14.3.5 Phaser Classic phaser with LFO and envelope modulation. The Phaser panel in the Plug-in Strip. The Phaser in the Control area.
Effect Reference Modulation Effects Parameter Description MAIN Section Frequency This defines the center frequency of the Phaser. Feedback Adjusts the amount of output signal fed back into the input. 8Pole Activating this causes the Phaser to use the 8Pole mode, resulting in a more intense phasing effect. MOD Section Amount This defines how much the Phaser gets modulated by the modulation source.
Effect Reference Spatial and Reverb Effects The Phaser on the controller. 14.4 Spatial and Reverb Effects 14.4.1 Ice This is a special reverb for getting cold and metallic sound. Ice includes a bank of self-oscillating filters for interesting and colorful effects. In the Project “Come Into My Disco” from the MASCHINE factory library, you can hear how it creates deep soundscapes during the break in Scene 6. The Ice panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Ice in the Control area. Parameter Description ROOM Section Color With lower settings, the general sound is a bit more muffled. The higher the Color value, the brighter it sounds. Ice The “ICE” factor: higher values sound more metallic. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Ice on the controller.
Effect Reference Spatial and Reverb Effects 14.4.2 Metaverb Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Reverb it has a much more “synthetic” sound, which is particularly suited for melodic content. The Metaverb panel in the Plug-in Strip. The Metaverb in the Control area. Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies.
Effect Reference Spatial and Reverb Effects Parameter Description Pan This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Metaverb on the controller. 14.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms.
Effect Reference Spatial and Reverb Effects The Reflex panel in the Plug-in Strip. The Reflex in the Control area. Parameter Description ROOM Section Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Smooth With this parameter, you can soften the metallic character of Reflex. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Spatial and Reverb Effects The Reflex reverb on the controller. 14.4.4 Reverb (Legacy) This reverb is best for most common applications. The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural” sound for all sorts of other signals. The Reverb panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Reverb in the Control area. Parameter Description ROOM Section Room This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter. Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. POSITION Section Pan This pans the dry signal.
Effect Reference Spatial and Reverb Effects The Reverb on the controller. 14.4.5 Reverb The Reverb effect provides three different modes which are described in this section. The Room Reverb panel in the Plug-in Strip. 14.4.5.1 Reverb Room The Room mode is suited to drum and percussive sounds, and particularly sounds good when used on snares. Modulate the Room Size, and Pre Delay parameters to create special effects.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 1.0s). Reverb Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 50.0%).
Effect Reference Spatial and Reverb Effects The Reverb Room on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 14.4.5.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 2.2s). Room Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 40.0%).
Effect Reference Spatial and Reverb Effects The Reverb Hall on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 14.4.5.
Effect Reference Spatial and Reverb Effects The Plate Reverb effect in the Plug-in Strip. The Plate Reverb in the Control area. Parameter Description MAIN Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Decay Adjusts the damping of the plate, which directly affects the decay time of the reverb. EQ Section Low Shelf Controls the low-frequency content in the reverberated signal.
Effect Reference Delays Parameter Description Pre Delay Adjusts the time between the original signal and the early reflections. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Reverb Plate on the controller. 14.5 Delays 14.5.1 Beat Delay The Beat Delay is specialized for creating delays that are synced to the tempo.
Effect Reference Delays The Beat Delay panel in the Plug-in Strip. Main Page The Beat Delay in the Control area: Main page. Parameter Description DELAY Section Time The Time parameter defines the delay length in note values. The available values depend on the unit defined by the Unit parameter on the Unit page (see below). They range from half a unit to 16 units. Offset This parameter is used to shift the start of the delay in relation to the tempo.
Effect Reference Delays Parameter Description Crossover Allows for panning the feedback signal rhythmically in the stereo field. Color Defines the basic frequency of the feedback circuit: lower values result in a deeper sound, whereas higher values brighten the sound. Split Controls the difference in frequency between left and right channel. At full left, this control is disabled. OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from -100.
Effect Reference Delays Unit Page The Beat Delay in the Control area: Unit page. Parameter Description UNIT Section Unit 14.5.2 Defines the unit used by the Time and Offset parameters on the Main page. Grain Delay By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is useful for creating ambient textures. Increase Size, Space and Density to quickly transform any sound into an evolving ambient texture.
Effect Reference Delays Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher. Size Defines the length of the grains. Jitter Introduces artifacts into the grains. Reverse Produces a reverse playback of the grain.
Effect Reference Delays The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo 14.5.3 This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo). Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the incoming signal.
Effect Reference Delays The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area. Parameter Description MASTER Section On Enables the effect. Every time this control is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th step. TIME Section Stretch Defines the time-stretch amount. Set to 50.0 % for half speed. Loop Sets a loop length, in 1/16th steps. PITCH Section Pitch Adjusts the pitch of the grains.
Effect Reference Delays Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Grain Stretch on the controller. 14.5.4 Resochord The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord. The results are most effective with non-melodic content (like drums) as the Resochord will print its own harmonic content on to any input material.
Effect Reference Delays The Resochord in the Control area. Parameter Description PITCH Section Mode Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords. In String mode, the 6 combs are centered around one frequency and can be spread for an intense chorus-like effect. Depending on your selection the other parameters in the Pitch area will change.
Effect Reference Distortion Effects Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Resochord on the controller. 14.6 Distortion Effects 14.6.1 Distortion Combining overdrive, feedback and modulation, the Distortion produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates.
Effect Reference Distortion Effects The Distortion panel in the Plug-in Strip. The Distortion in the Control area. Parameter Description MAIN Section Drive Determines the basic amount of distortion. Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Feedback Adjust the amount of output signal fed back into the input. Tone General tonal characteristic of the feedback signal. Tone Mod Modulation introduced in the feedback signal.
Effect Reference Distortion Effects Parameter Description Release This parameter determines how fast the distorted sound dies down when the Gate is enabled. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Distortion on the controller. 14.6.2 Lofi The Lofi effect reduces the bit depth (or bit resolution) and Sample rate of the audio signal for an interesting “vintage” effect at subtle settings, and heavy digital distortion at extreme settings.
Effect Reference Distortion Effects The Lofi in the Control area. Parameter Description RESAMPLE Section SR SR stands for Sample Rate and ranges from CD-quality (44.1 kHz) to 99.5 Hz which results in a hissy crackle. BITCRUSH Section Bits Introduces a distortion based on bit reduction. Smooth Reduces the aliasing introduced by the Lofi effect. Stereo Widens the stereo field of the effect.
Effect Reference Distortion Effects 14.6.3 Saturator The Saturator is a flexible tool allowing you to apply various types of saturations to your signal. The Saturator offers three modes: Classic (legacy mode), Tape, and Tube. You can select the desired mode via the Mode selector. Since the three modes provide different sets of parameters, each of them is described separately below. The Saturator panel (here in Tube mode) in the Plug-in Strip. Classic Mode The Classic mode is the legacy mode.
Effect Reference Distortion Effects Classic Mode – Parameter Description Input Controls the input gain of the effect. Increasing Input will also increase the amount of compression performed on the audio signal. Contour Determines how closely the Saturator responds to the input volume. Higher values create a more distorted sound. Drive Adjusts the amount of distortion introduced by the Saturator. The Saturator in Classic mode on the controller.
Effect Reference Distortion Effects Tape Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here. Input Controls the input gain of the effect. This affects the amount of tape distortion and compression. Contour Controls the high frequency roll-off starting frequency. Frequencies above this point will be attenuated. Drive Controls the low frequency boost/cut of the effect.
Effect Reference Distortion Effects Tube Mode – Parameter Description Charge In Tube mode the Saturator provides a negative feedback loop that attenuates the level at the Saturator’s input according to the amount of low frequencies at its output. This notably prevents the bass content “polluting” the saturation. The Charge parameter allows you to adjust the amount of feedback. At 0 (full left) the feedback loop is disabled. Increase the Charge value to strengthen the effect.
Effect Reference Distortion Effects The Analog Distortion panel in the Plug-in Strip. The Analog Distortion in the Control area (Main page depicted). Main Page Element Description MODE Section Mode Select between two distortion modes: Analog and Mulholland (default: Mulholland). DISTORTION Section Saturation Sets the amount of saturation applied to the signal. Available values range from 0.0 to 100.0% (default: 25.0%). Bass Attenuates the low frequencies of the distortion effect.
Effect Reference Perform FX Element Description Tone Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone. Available values range from 0.0 to 100.0% (default: 100.0%). Focus Switches the frequency range of the processed signal, pulling it slightly further forwards in the mix. The effect is more pronounced when Definition is set to lower values. Definition Determines how pronounced the distortion effect is. Available values range from 0.
Effect Reference Perform FX ▪ Ring: Based on a bank of ring modulators, the Ring effect adds a bell-like quality to melodic sound sources. An additional plate reverb lets you pick out individual notes with your finger and have them ring out for several seconds. For more information see section ↑14.7.5, Ring. ▪ Stutter: Stutter is a beat-mangling effect, great for adding glitches and fills to drum patterns and more. For more information see section ↑14.7.6, Stutter.
Effect Reference Perform FX Filter Perform FX in the Plug-in Strip. Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes. Resonance Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing.
Effect Reference Perform FX Flanger Perform FX in the Plug-in Strip. Flanger Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound. STEREO Controls the stereo spread of the effect. Setup Page Parameter Description COLOR Polarity Flips the phase of the signal in the feedback loop.
Effect Reference Perform FX 14.7.3 Burst Echo A warm, versatile echo with plenty of character, designed for spontaneous splashes of echo. Strong, responsive attacks that taper off into hazy trails are perfect for dub and can also be tweaked for more extreme sound design. Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated. The feedback is reduced when the effect is disengaged.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Replace mode, the dry signal is muted after the first repetition, leaving only the delay tail audible until the effect is released. ▪ In Wet Only mode, the dry signal is muted entirely, which is useful for placing the effect on a send. Feed 14.7.
Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback. Pump Controls the amount of compression applied to the feedback loop. Wet Level Controls the volume of the delayed signal.
Effect Reference Perform FX Setup Page COLOUR Saturation Controls the amount of saturation applied to the feedback path. Resonance Controls the resonance of the filters in the filter bank. More resonance emphasizes the "singing" effect. 14.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick individual notes and keep them ringing into the stratosphere.
Effect Reference Perform FX Ring Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. OSC Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency. At higher Spread values, the oscillator frequencies become further apart.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Wet Only mode, the dry signal is muted entirely, leaving silence except when the effect is activated. This is useful for using Ring as an instrument with a sustained sound (e.g. a pad) as source material. 14.7.
Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using TS Assign. TS Assign Assigns the control to Length or Pitch. STUTTER Gate Applies a volume envelope to the loop, exaggerating the "stutter" effect, especially at short loop lengths.
Effect Reference Perform FX Parameter Description Quantize Quantizes the loop length and start point to the song position and tempo. When Quantize is off, the loop length is continuously variable and measured in milliseconds, and no quantization takes place. Quantization is especially meaningful if direction is set to Reverse or Both, since it's during reverse playback where a poorly timed loop will sound completely off-time. 14.7.
Effect Reference Perform FX Tremolo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Enables and disables the effect. Position Controls the tremolo and vibrato rate and depth, within the ranges defined by the Min and Max parameters on the second page. TREMOLO Trem/Vibr Controls the balance between tremolo (modulation of amplitude) and vibrato (modulation of frequency/pitch). Vibr Mode Sets the vibrato mode.
Effect Reference Perform FX Setup Page Parameter Description DEPTH RANGE Depth Min Controls the amplitude of the modulation when the parameter position is set to 0%. Depth Max Controls the amplitude of the modulation when the parameter position is set to 100%. DEPTH RANGE Rate Min Controls the rate of the modulation when the parameter position is set to 0%. Rate Max Controls the rate of the modulation when the parameter position is set to 100%. 14.7.
Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time). SWIRL Delay Time Controls the delay time range. Longer values produce a delay effect. Shorter values result in a comb filtering effect.
Working with the Arranger Arranger Basics 15 Working with the Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. The MASCHINE Arranger has two different views: Ideas view and Arranger view which are also reflected on your controller. Each view has a specific purpose in the workflow of creating a song, but essentially they represent the same content.
Working with the Arranger Arranger Basics The Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene. 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your Project.
Working with the Arranger Arranger Basics Control Area). To mute a Group click the Group letter, for example A1, and right-click ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options available to manage them.
Working with the Arranger Arranger Basics (4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene assigned to the Section along with the Scene's Patterns stacked vertically for each Group in the Project. The Patterns seen here are the same as those seen when viewing the same Scene in the Ideas view. 15.1.1 Navigating the Arranger The Arranger can be scrolled and zoomed in or out to fit your current needs.
Working with the Arranger Arranger Basics Navigating the Arranger Vertically (Groups) A classic scroll bar is available right of the Arranger. It allows you to scroll to hidden Groups in case all of them don’t fit in the Arranger. The classic scroll bar right of the Arranger. You can also adjust the height of the Arranger in order to display more/less Groups at once by dragging its bottom right corner vertically with your mouse: Drag the handle to adjust the Arranger’s height.
Working with the Arranger Arranger Basics 15.1.2 Following the Playback Position in Your Project If the Arranger doesn’t display the entire Loop Range currently selected, at some point the playhead will go beyond the portion of your Project currently displayed in the Arranger and you might loose track of the playback position. To prevent this, you can force the Arranger to follow the playhead: Activate the Follow button to keep following the playhead in the Arranger.
Working with the Arranger Arranger Basics → The FOLLOW button lights up. In the software the Arranger will now switch to the next portion of your Project (with the same zoom factor) as soon as the playhead reaches the end of the portion currently displayed. This way, you always see the portion that is currently played. The Follow function will be automatically disabled as soon as you manually scroll to another portion of the Arranger or of the Pattern Editor.
Working with the Arranger Arranger Basics ◦ If Retrigger is disabled (default setting), the next Section that is selected will play from the same offset to the beginning of the Section: e.g., leaving the current Section on beat 3 will cause the new Section to start playing on its beat 3. This ensures that the global groove of your track is not interrupted! 15.1.3.
Working with the Arranger Arranger Basics → The next time you select a new Section or group of Sections for looping, the new loop will start from the beginning of the first Section (Retrigger enabled) or from the same position as where it left the current Section (Retrigger disabled). 15.1.3.2 15.2 Jumping to Other Sections using the Controller Using Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement.
Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode focuses on Scene selection and manipulation. To enter Scene mode on your controller: ► Press SHIFT + SCENE (Section) to enter Ideas view. → The software switches to Scene mode.
Working with the Arranger Using Ideas View In addition, the Scene mode provides useful Scene management commands similar to those of the Scene Arrange mode. These are described in the following sections. 15.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View ► To create a new Scene, click the “+” button located after all existing Scene names in the top row of the Ideas view. Click the “+” button to create a new Scene.
Working with the Arranger Using Ideas View 15.2.3 Assigning and Removing Patterns Each Pattern placed in the Arranger (Ideas view or Arranger view) references one of the Patterns available in the Pattern Editor for the corresponding Group. In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots. Any changes made in Arranger view or Ideas view is one and the same.
Working with the Arranger Using Ideas View ▪ The Pattern displays its name and color. ▪ The corresponding Pattern will now be played by that Scene. ▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified. Patterns and the Pattern Editor are described in chapter ↑10, Working with Patterns.
Working with the Arranger Using Ideas View Then create the Pattern for the desired Group: 1. Press the desired Group button A–H to select the Group from which you want to select a Pattern. 2. Press and hold PATTERN. Both your pads and the right display give you an overview of the available Patterns. Dim lit pads indicate the available Patterns. If a Pattern already exists in the selected Scene for that Group, the referenced Pattern is highlighted and its pad is fully lit.
Working with the Arranger Using Ideas View ▪ The Pattern itself is left untouched. ▪ If the Pattern was the longest one in the Scene, the Scene is automatically reduced to the next longest Pattern. Assigning a Pattern to a Scene on the Controller Assigning a Pattern is done in Pattern mode. First select the Scene to which you want to assign a Pattern: 1. Press NAVIGATE + Button 2 (IDEAS) to enter Ideas view. 2. Press and hold SCENE to enter Scene mode. 3.
Working with the Arranger Using Ideas View ▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified. For further information regarding the Pattern mode, please refer to section ↑10.7, Managing Patterns. Removing a Pattern from a Scene on the Controller Removing a Pattern is also done in Pattern mode: ► To remove the Pattern for the selected Group from the selected Scene, press PATTERN + Button 2 (REMOVE).
Working with the Arranger Using Ideas View → The Scene name is now highlighted to indicate that this Scene is selected. Once a Scene Has Been Selected… Once you have selected a Scene, the following happens: ▪ The selected Patterns slots for the focused Scene are highlighted. The Pattern slot with a white frame is displayed in the Pattern Editor. Unselected Pattern slots are dimmed.
Working with the Arranger Using Ideas View ▪ The Pattern Editor displays the Pattern for the focused Group in this Scene. If there is no Pattern for the focused Group in the Scene you have just selected, the Pattern Editor is empty. ▪ If playback is off the playhead immediately jumps to the beginning of the selected Scene. If playback is on the playhead jumps according to the Perform Grid settings — see section Jumping to Other Scenes. 15.2.
Working with the Arranger Using Ideas View 4. Press the pad corresponding to the Scene you want to delete. Alternatively you can select the Scene by pressing the Page buttons. 5. Press Button 6 (DELETE). → The Scene is deleted with all its Patterns. Scenes to the right shift to fill the gap. Alternate Method 1. Press SHIFT + SCENE to enter Ideas view. 2. Press and hold SCENE (Section) to enter Scene mode. 3. Press Button 7 and 8 to select the desired Scene bank. 4.
Working with the Arranger Using Ideas View 4. Press SHIFT + Button 6 (DELETE) to delete the selected Scene bank. The Scene bank is deleted including all its Scenes, if any. The following banks are shifted up to fill the gap. 15.2.7 Clearing Scenes Clearing a Scene allows you to remove all its Patterns, leaving the Scene empty. Clearing Scenes is only available from within the software.
Working with the Arranger Using Ideas View ▪ duplicate Scenes ▪ duplicate Scenes and Patterns ▪ link when duplicating Sections For more information on the Default page of the Preferences, read: ↑2.6.4, Preferences – Default Page. Duplicating a Scene in the Software To duplicate a Scene in the software: ► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ▪ The selected Scene is duplicated in accordance with the setting in the Default page of the Preferences.
Working with the Arranger Using Ideas View → The selected Scene is duplicated in accordance with the setting in the Default page of the Preferences. For more information, read: ↑2.6.4, Preferences – Default Page. 15.2.9 Reordering Scenes Reordering Scenes in Ideas view allows you to visually organize your ideas and also place each idea on a specific pad of your controller. The reordering of Scenes will not affect your arrangement. In the software you can reorder Scenes in the Ideas view.
Working with the Arranger Using Ideas View → The Scene takes its new place. On your controller in Scene mode, you can now select this Scene via the pad corresponding to its new location. 15.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique. This will then allow you to work on a new separate copy of the Scene and its Pattern in isolation. Use Unique in combination with the Duplicate option.
Working with the Arranger Using Ideas View Making Scenes Unique Using the Controller To make a Scene unique using your controller: 1. Press SHIFT + SCENE (Section) to enter Ideas view. 2. Press and hold SCENE (Section) to enter Scene mode. 3. Press Button 7 and 8 to select the desired Scene bank. 4. Press the pad corresponding to the Scene you want to make unique. 5. Press Button 2 (UNIQUE). → A unique copy of the Scene and its Patterns are created. 15.2.
Working with the Arranger Using Ideas View Appending a Scene to the Arrangement Using the Controller Using your controller you can append a Scene to the arrangement. 1. Press SHIFT + SCENE (Section) to enter Ideas view. 2. Press and hold SCENE (Section) to enter Scene mode. 3. Press Button 7 and 8 to select the desired Scene bank. 4. Press Button 3 (APPEND). 5. Press the pad corresponding to the Scene you want to append.
Working with the Arranger Using Ideas View the pad grid and select Rename from the context menu: The Scene name gets highlighted and editable. 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with the Arranger Using Ideas View 1. Right-click ([Ctrl]-click on macOS) the name of the desired Scene in the Arranger or in the Scene Manager, and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Scene is highlighted. 2. Select the desired color in the Palette. You can also choose to set the Scene back to its default color by selecting Default at the bottom of the Color Palette. → The Scene slot takes the new color you select.
Working with the Arranger Using Arranger View 15.3 Using Arranger View In MASCHINE, a song is made of a variable number of Scenes, which represent the different parts of the song — e.g., intro, verse, chorus, break, another verse… By assigning your Scenes to Sections to the Timeline in the Arranger view you can start to organize your track. The Arranger view is where you can sequence Scenes to create your final arrangement.
Working with the Arranger Using Arranger View Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank. Slots containing a Section show a colored or white bar on the left along with the Section name. The other slots contain no Section. The selected Section is highlighted (Intro A in the image above).
Working with the Arranger Using Arranger View The top row of the Arranger. The only difference between the Section Manager and the Arranger’s top row is that the Section Manager allows you to manage your Section banks, which is impossible in the Arranger’s top row. Apart from this, actions in the Arranger’s top row and in the Section Manager are strictly equivalent.
Working with the Arranger Using Arranger View 1 2 3 4 5 6 7 8 9 10 The Section Arrange mode in the controller displays. In Section Arrange mode, the displays of your controller show the following: ▪ The left display provides an overview of the arrangement for your entire Project: ◦ Similarly to the Arranger in the software, you will find Sections organized in columns and Groups organized in rows. ◦ The overview includes a timeline (1) and shows the current Loop Range (4).
Working with the Arranger Using Arranger View ◦ Horizontally, the displayed time interval is variable: Turn Knob 5 and 6 to zoom and scroll in the right display to your liking, respectively. You can also enable FOLLOW and let the right display follow the playhead as it travels through your arrangement — see section ↑15.1.2, Following the Playback Position in Your Project for more information. ◦ At the top of the right display you see the Section names (7) with the timeline (8) underneath.
Working with the Arranger Using Arranger View → Your controller switches to Section mode. This is indicated by the highlighted SECTION in the upper-left corner of the left display. Apart from a few commands, the main difference between the Section mode and the Section Arrange mode is found in the right display of the controller: In Section mode you see all Section slots of the selected Section bank represented as a square of 4x4 cells: ▪ The highlighted cell indicates the selected Section slot.
Working with the Arranger Using Arranger View ▪ A new empty Section is created after all existing Sections. You can then assign a Scene using your controller and software — see section: ↑15.3.3, Assigning a Scene to a Section. Creating a New Section on Your Controller To create a new Section on your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press SCENE (Section) + any unlit pad to create a new empty Section in the current Section bank. → A new empty Section is created.
Working with the Arranger Using Arranger View 2. Press SCENE (Section) then turn Knob 2 to select the Scene you want to add to the Section. → The selected Scene is added to the Section. By repeating this for each new Section, you can quickly add Scenes to the Arranger. 15.3.4 Selecting Sections and Section Banks You can select the desired Section via the Section Manager or directly in the Arranger view.
Working with the Arranger Using Arranger View 2. If it is not already selected, select the Section bank containing the desired Section by clicking its pad grid on the right. The selected Section bank is surrounded by a white border, and the left part of the Section Manager displays the Section slots in that bank. 3. Select the desired Section by clicking the slot with its name in the list on the left or by clicking its cell in the selected pad grid on the right.
Working with the Arranger Using Arranger View ▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty. ▪ Additionally, if the selected Section is outside the current Loop Range: ◦ The Loop Range is set to the selected Section. ◦ If playback is off the playhead immediately jumps to the beginning of the selected Section.
Working with the Arranger Using Arranger View 2. Press the dim lit pad corresponding to the cell of the desired Section on the right display. → The desired Section is selected. Upon your selection, the following happens: ▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty.
Working with the Arranger Using Arranger View Selecting a Section ► To select a Section in the current Section bank, press SCENE + the dim lit pad corresponding to this Section. Upon your selection, the following happens: ▪ The Pattern Editor displays the Pattern for the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty. ▪ The Loop Range is set to the selected Section — see section Selecting a Loop Range.
Working with the Arranger Using Arranger View 3. When the insertion line appears at the desired location, release the mouse button. → The Section takes its new place. On your controller in Section mode, you can now select this Section via the pad corresponding to its new location. Moving a Section using the Controller To move a Section using your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View By default the length of a Section is automatically set to the longest Pattern used within the referenced Scene (Auto Length), unless the length of the Section is manually set to a specific bar range (Manual Length). ▪ Auto Length: By default, the length of a Section corresponds to the longest Pattern used in the referenced Scene. Inserting a new Pattern that is longer than the Section automatically extends the Section.
Working with the Arranger Using Arranger View 15.3.6.1 Adjusting the Length of a Section Using the Software Variable Section length allows you to lengthen or shorten a Scene on the Timeline of the Arranger without altering the referenced Patterns. This is particularly useful as it avoids the need to create a new version of a Scene when you only want to extend or truncate a Scene to make it fit an arrangement.
Working with the Arranger Using Arranger View → The Scene will be shortened, and if the adjustment is shorter than the referenced Pattern a small Truncated Clip marker will appear on the right-hand side of the Section to indicate that a part of the Scene is hidden. Only the visible part of the Scene will be audible during playback. When adjusting the size of a Section the following rules apply: ▪ The value set in the Arrange Grid is used for length increments.
Working with the Arranger Using Arranger View 5. Press SHIFT and turn Knob 4 to change the Section length in smaller increments. → The Section length is adjusted accordingly. To adjust the length of a Section using your hardware controller: 1. Press NAVIGATE + Button 3 ARRANGER to access the Arranger view. 2. Press SCENE to enter Section mode. 3. Select the pad relating to the Section you want to adjust. 4. Turn Knob 4 to adjust the length of the Section as required.
Working with the Arranger Using Arranger View Assigning a Pattern in Arranger View 1. In the Arranger, click the cell located in the column of the desired Section and in the row of the desired Group. This selects both the desired Section and Group simultaneously. You can also click the desired Section label and Group separately. 2. In the Pattern Editor, open the Pattern Manager and click the desired Pattern slot to select it (see section ↑10.7.
Working with the Arranger Using Arranger View Patterns and the Pattern Editor are described in chapter ↑10, Working with Patterns. Creating a New Empty Pattern in Arranger View You can also create a new empty Pattern: ► In the Arranger, double-click the cell located in the column of the desired Section and in the row of the desired Group. → A new empty Pattern is automatically created in the selected Section.
Working with the Arranger Using Arranger View Duplicating a Section ► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ▪ The selected Section is duplicated in accordance with the setting in the Default page of the Preferences. Duplicating a Section on Your Controller To duplicate a Section on your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press SCENE (Section) then the pad corresponding to the Section you want to duplicate. 3.
Working with the Arranger Using Arranger View To make a Section unique in the MASCHINE software: 1. Right-click (or ([Ctrl]-click on OS X) the Section you want to make unique in the Timeline. The context menu will open. 2. Click Unique. → The Section will become independent of any Sections it was linked to and the Patterns can be edited without affecting any the original Sections. Making a Section Unique on the Hardware To make a Section unique on the hardware: 1.
Working with the Arranger Using Arranger View ► In the top row of the Arranger view, right-click ([Ctrl]-click on macOS) the name of the Section you want to remove and select Remove from the context menu: → The Section is removed from the arrangement. The next Sections shift ahead to fill the gap. Instead of removing the Section, which removes it entirely, you can also clear the Section: This will only remove its content — the Section will stay in your arrangement, but empty.
Working with the Arranger Using Arranger View Alternate Method 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press and hold SCENE (Section) to enter Section mode. 3. Press Button 7 and 8 to select the desired Section bank. 4. Press ERASE + the pad corresponding to the Section you want to remove. → The Section is removed from the arrangement. The next Sections shift ahead to fill the gap.
Working with the Arranger Using Arranger View the pad grid and select Rename from the context menu. The Scene name is highlighted and editable. 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with the Arranger Using Arranger View ► Right-click ([Ctrl]-click on macOS) the name of the desired Section in the Arranger view, and select Clear from the context menu. → The Section is cleared. 15.3.12 Creating and Deleting Section Banks A new Section bank is automatically created once you fill an entire bank with Sections. Deleting Section Banks using the Controller To delete a Section bank: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View 15.3.13 Enabling Auto Length By default a Section is set to Auto Length allowing it to resize automatically to the content within the Section. If the length of a Section is manually adjusted by truncating or lengthening the Section end marker, Auto Length is discarded and the Section automatically set to Manual Length.
Working with the Arranger Using Arranger View 3. Press the corresponding pad to select a Section. 4. Press Button 3 AUTO LENGTH to enable Auto Length. → The selected Section is automatically resized to fit the content of the Patterns within the assigned Scene. Any manual adjustments that were previously made are discarded. 15.3.14 Looping Activate a Loop to repeatedly play a section of the Arrangement.
Working with the Arranger Playing with Sections ► Click and drag the Loop range left or right. → The whole Loop range is moved. Activating or Deactivating a Loop in the Software To activate a Loop using the software: ► Click the Loop button in the header to activate or deactivate the loop. When the Loop is activated the Sections within the Loop range are repeated. 15.4 Playing with Sections MASCHINE provides you with various tools to precisely control which Section has to be played, and when.
Working with the Arranger Playing with Sections This may also be necessary if you are composing a studio track in your host sequencer and want to control which Scenes or Sections the MASCHINE plug-in has to play. This is where the MASCHINE tools described in the following sections come in handy. 15.4.1 Jumping to another Playback Position in Your Project You can use the timeline above the Scene headers in the Arranger to set the playback to the desired position.
Working with the Arranger Triggering Sections or Scenes via MIDI Example with playback on: Assuming that the Pattern Grid resolution is set to one bar, if you click around the 8.3 mark (3rd beat of the 8th bar) in the timeline when the playhead reaches the 3.2 mark (2nd beat of the 3rd bar), the playhead will jump from the 3.2 to the 8.2 mark (2nd beat of the 8th bar) and continue from there. You can also change the playback position by switching to another Scene.
Working with the Arranger Triggering Sections or Scenes via MIDI To enable or disable Section/Scene MIDI Change feature, do the following: 1. In the MASCHINE Header, click the cog wheel icon. 2. Click MIDI Change from the menu. → The MIDI Change dialog appears. In the MIDI Change dialog: 1. In Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be triggered. In Section option, click the Enabled checkbox to enable Sections in the Arranger view to be triggered. 2.
Working with the Arranger The Arrange Grid 4. In the Channel submenu, select the MIDI channel the Scenes or Sections should receive MIDI messages from. 15.6 The Arrange Grid The Arrange Grid is used to quantize all modifications related to the timeline.
Working with the Arranger The Arrange Grid 2. Click the current Arrange Grid value to open the drop-down menu. 3. Select a new value for the Arrange Grid. → The selected Arrange Grid value is applied. On your controller: 1. Press the SHIFT + FOLLOW (Grid) button to access the Grid page. 2. Press Button 3 to select ARRANGE. 3. Press Button 5, or the corresponding pad to select an Arrange Grid value. → The selected Arrange Grid value is applied.
Working with the Arranger Quick Grid → The selected Arrange Grid value is applied. To Disable the Arrange Grid ► Press Button 8 or pad 16 to select OFF. → The Arrange Grid is disabled. 15.7 Quick Grid The Quick Grid setting allows you to quickly and conveniently set the most common Pattern lengths using your controller. Quick Grid is only accessible from your controller.
Sampling and Sample Mapping Opening the Sample Editor 16 Sampling and Sample Mapping MASCHINE allows you to record internal or external audio signals using your audio interface without having to stop the sequencer. This is a useful feature if you want to record your own Samples, or rearrange loops that you have created yourself using MASCHINE. You can apply various types of destructive processing to the recorded audio or to any Sample you want to use in a Sound.
Sampling and Sample Mapping Recording a Sample 2. Click the Sample Editor button on the left of the Pattern Editor to switch to the Sample Editor. The Sample Editor appears and displays the Sample content of the focused Sound. 3. In the Sample Editor, click the desired tab at the top to access the corresponding page: ▪ The Record page allows you to record new Samples: ↑16.2, Recording a Sample. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑16.3, Editing a Sample.
Sampling and Sample Mapping Recording a Sample The Record page in the software. 16.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the RECORDING section allow you to adjust which source should be recorded and how the recording should start and stop. Adjusting the source and mode of the recording in the software.
Sampling and Sample Mapping Recording a Sample ► Click the INPUT selector to choose between the available inputs: ▪ If SOURCE is set to Ext. Ster., you can select either of MASCHINE’s four external stereo inputs In 1–4. ▪ If SOURCE is set to Ext. Mono, you can select either of MASCHINE’s eight external mono inputs: the left (“L”) or right (“R”) channel of each input pair In 1–4. ▪ If SOURCE is set to Internal, you can select the output of any available Group or the Master.
Sampling and Sample Mapping Recording a Sample Any input level reaching the slider position will start the recording! Double-click the slider to reset the threshold to its default value (-12 dB). Monitoring the Input Signal Visually controlling the input signal. The level meters above the RECORDING section show you at any time the level of the selected audio source. For example, this can come in handy to adjust the appropriate threshold in Detect mode.
Sampling and Sample Mapping Recording a Sample 16.2.3 Arming, Starting, and Stopping the Recording The Start and Cancel buttons. ► Click Start to arm the recording. After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section ↑16.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Sync mode: ◦ The recording will start at the next bar.
Sampling and Sample Mapping Recording a Sample In any case the recorded audio will be stored in the Sound that was under focus as you started the recording. When the Recording is Done… When the recording is done, the following things happen: ▪ The recording is named and stored as a file on your hard disk (see section ↑16.2.6, Location and Name of Your Recorded Samples). ▪ Its waveform appears in the waveform display and its name appears in the information bar above.
Sampling and Sample Mapping Recording a Sample 16.2.4 Arming, Starting, and Stopping the Recording on Your Controller Starting and stopping the recording. ► Press Button 5 (START) to arm the recording. After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section ↑16.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Sync mode: ◦ The recording will start at the next bar.
Sampling and Sample Mapping Recording a Sample ◦ Once the recording has started, press Button 5 (STOP) to stop the recording (it stops immediately) or Button 6 (CANCEL) to cancel the recording (the recorded audio will not be saved). If you want to start and stop the recording manually, you can set the MODE to DETECT, dial the THRESHOLD down to OFF and start the recording by pressing START (Button 5). To stop recording, press STOP (Button 6).
Sampling and Sample Mapping Recording a Sample 16.2.5 Checking Your Recordings You can visualize the last recordings you have made in the current Sound: 4 3 1 2 5 The waveform display and the information bar displaying a recording. (1) Waveform display Shows the waveform of the recording currently selected in the Recording History (5) — by default your last recording: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2). ▪ When the Sample is played back (e.
Sampling and Sample Mapping Recording a Sample Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the recorded Sample under another name and/or to another location on your computer.
Sampling and Sample Mapping Recording a Sample ▪ Click the little cross at the top right corner of a mini waveform to delete this particular recording. ▪ Drag any mini waveform to another Sound slot to load it in that Sound. Right-click (macOS: [Ctrl]-click) any mini waveform in the Recording History to open a context menu with the following commands: Command Description Delete Deletes the displayed Sample from the Recording History.
Sampling and Sample Mapping Recording a Sample Using the Recording History All the recordings you have made since you opened the current Project are stored in the Recording History and displayed as mini waveforms on the left display. The following actions are available: ▪ To navigate your various recordings, press Button 7 (PREV) and Button 8 (NEXT). ▪ The selected recording is automatically loaded in the Sampler Plug-in and ready to be played.
Sampling and Sample Mapping Editing a Sample 16.3 Editing a Sample The Edit page of the Sample Editor in the software and its equivalent the EDIT page of the Sampling mode on your controller allow you to adjust the start and end points of a Sample or Slice and to apply various destructive audio processing functions to any part of the Sample. Which Sample Is Shown in the Edit Page? The Edit page (EDIT page on your controller) always displays the Sample of the Zone currently selected (see section ↑16.5.
Sampling and Sample Mapping Editing a Sample 2 3 1 4 7 5 6 The Edit page in the software. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides following tools: ▪ Drag any Sample onto the waveform to replace the current Sample for the focused Zone. If there is no Sample loaded yet, this automatically loads a Sampler Plug-in in the Sound and creates a Zone over the entire key and velocity ranges for the dragged Sample.
Sampling and Sample Mapping Editing a Sample ▪ Loop range: If a loop has been defined in the Sample, it is also indicated on the waveform. You can then adjust the loop by dragging its borders, and move the entire loop by dragging its title bar. Loops can be created and adjusted in the Zone page — see section ↑16.5.4, Selecting and Editing Zones in the Map View. Note that the loop will always stay within the play range.
Sampling and Sample Mapping Editing a Sample Displays the file name and the length of the recorded Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑12.2.6, Using the Cue Bus for more information). Click the little circle (or pair of circle) at the far right to switch the waveform display (1) between single-channel and two-channel display. (3) Timeline Shows the time scale in seconds.
Sampling and Sample Mapping Editing a Sample Using the EDIT Page on Your Controller ► In Sampling mode, press Button 2 to access the EDIT page. The EDIT page on the controller. The right display shows the waveform of the selected Sample: ▪ Turn Knob 5 to zoom in on the waveform of the Sample and Knob 6 to scroll through it. ▪ Above the waveform, the information bar indicates the name and length of the Sample.
Sampling and Sample Mapping Editing a Sample The EDIT page on the controller, page 1 of 2: adjusting the play range of the Sample. Parameter Description START (Knob 1) Adjusts the start point of the play range in the Sample. END (Knob 2) Adjusts the end point of the play range in the Sample. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. In the waveform on the right display, the regions outside the play range are grayed out.
Sampling and Sample Mapping Editing a Sample Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. On the right display, the selection range is highlighted. Changing the play range automatically resets the selection range to the new play range. Audio Editing The EDIT page provides several audio editing functions to process your Sample. Available via Button 5–8 above the right display, these functions are described in detail in the next section ↑16.3.2, Audio Editing Functions.
Sampling and Sample Mapping Editing a Sample Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM. (Normalize) This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample. FADE IN This applies a fade in to the selected region of the Sample. FADE OUT This applies a fade out to the selected region of the Sample. DC CORRECT This removes the DC offset.
Sampling and Sample Mapping Editing a Sample The stretch controls at the bottom of the Edit page. These controls allow you to adjust the parameters of the time stretching / pitch shifting function before applying it to the selected region. Pitch shifting and time stretching can be applied independently. The following parameters are available: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.
Sampling and Sample Mapping Editing a Sample Parameter Description SRC BPM (Source BPM, Beat mode only) Allows to define the tempo of the original audio (in BPM). This tempo is defined in different ways according to the AUTO DTCT value: If AUTO DTCT is enabled, you can set the length (in bars) of the original audio. You can choose between 1/2, 1, and 2 bars. The number between brackets indicates the resulting tempo (in BPM) derived from the number of bars you have set and the computed tempo value.
Sampling and Sample Mapping Editing a Sample Audio editing functions on the right display of the controller. 1. Use Button 5 and 6 to select the desired audio function. 2. Press Button 8 to perform the selected audio function → The audio function will be performed on the selected region in your Sample, as defined by the START and END parameters of the SELECTION RANGE section on page 2 (see ↑16.3.1, Using the Edit Page). These audio processing functions are destructive, i.e.
Sampling and Sample Mapping Editing a Sample Parameter Description FADE IN This applies a fade in to the selected region of the Sample. FADE OUT This applies a fade out to the selected region of the Sample. FIX DC This removes the DC offset. DC offset (“Direct Current offset”) is an undesirable constant shift in the signal level that might be introduced by some audio processing units. This offset can notably waste some of the available headroom.
Sampling and Sample Mapping Editing a Sample Parameters for the Stretch function. Following parameters are available via Knob 1–8: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.00 to leave the original pitch untouched. FORMANT C Enables/disables the formant correction.
Sampling and Sample Mapping Editing a Sample Parameter Description AUTO DTCT If AUTO DTCT (Auto Detection) is enabled, MASCHINE automatically detects the tempo of the original audio. (Auto Detection, Beat mode only) SRC BPM (Source BPM, Beat mode only) SRC BPM (Source BPM) allows to define the tempo of the original audio (in BPM). This tempo is defined in different ways according to the AUTO DTCT value: If AUTO DTCT is enabled, you can set the length (in bars) of the original audio.
Sampling and Sample Mapping Slicing a Sample ► Once you have set the parameters to the desired values, press Button 8 (APPLY) to apply the pitch shifting and/or time stretching to the selected region in the Sample. If you don’t want to use the Stretch function, press Button 7 (SETTINGS) again to switch back to the audio function selection. 16.
Sampling and Sample Mapping Slicing a Sample ▪ You can also drag a Sample onto the focused Sound slot or directly to the Slice page from the Browser or from your operating system. It will then appear on the page and replace any Sample already loaded in that Sound. 16.4.1 Opening the Slice Page In the software, slicing a Sample is done in the Slice page of the Sample Editor. ► In the Sample Editor, click the Slice tab at the top to open the Slice page.
Sampling and Sample Mapping Slicing a Sample The SLICE page 1 on the controller. 16.4.2 Adjusting the Slicing Settings At the bottom of the Slice page, you can adjust the settings used to define where the various Slices will be created in the Sample. Adjust the slicing settings at the bottom of the Slice page. Any change to these settings will directly affect the number and position of the Slice markers displayed on the waveform above.
Sampling and Sample Mapping Slicing a Sample Parameter Description SLICER Section MODE Here you can select either Split, Grid, Detect or Manual: Detect mode: The Sample will be sliced according to its transients. Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values. Manual mode: Manually enter slice points using the pads on your controller, or adjust the start and end points of a slice.
Sampling and Sample Mapping Slicing a Sample Parameter Description MONO The Sample Slicer Mono option when activated automatically sets the Voice and Choke Group of all sample slices to 1 when slicing to a Group. This time saving feature is useful when you don’t want to have lots of samples triggered or repeating at the same time, for example, when you slice a drum loop and trigger the individual hits to form a new pattern.
Sampling and Sample Mapping Slicing a Sample Adjust the slicing settings via Knob 1–4. Any change to these settings will directly affect the number and position of the Slice markers shown in the waveform on the displays. Selecting and Pre-Listening the Slices with the Pads At any time, the proposed Slices are also available on your pads: The fully lit pad indicates the selected Slice, while the dim lit pads indicate the other Slices.
Sampling and Sample Mapping Slicing a Sample Parameter Description TIME Section MODE Here you can select either DETECT, SPLIT, GRID, or MANUAL: Detect mode: The Sample will be sliced according to its transients. Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values. Manual mode: Manually enter slice points using the pads on your controller, and edit the start and end points of a slice.
Sampling and Sample Mapping Slicing a Sample Parameter Description BPM (BPM Mode) Selects how the tempo is defined: If you select AUTO, MASCHINE will calculate the tempo automatically. If you select MANUAL, you can enter the tempo in BPM manually. ADJUST If BPM is set to AUTO, you can choose between the tempo that MASCHINE detected, or half or double of that tempo. If BPM is set to MANUAL, you can adjust the tempo manually.
Sampling and Sample Mapping Slicing a Sample 16.4.3 Live Slicing Live Slicing is a quick and intuitive way to add slices to a sample using the pads on your controller. The first pad is used to trigger the sample and the subsequent pads are used to add slice points as required. If necessary, the start and end points of the slices can then be finetuned using Edit mode. Live Slicing is only available from your MASCHINE controller. 16.4.3.
Sampling and Sample Mapping Slicing a Sample 16.4.3.2 Delete All Slices The DELETE ALL option in SAMPLING EDIT mode is a quick and convenient way to delete all Slices at once from a sample using your controller. 16.4.4 Manually Adjusting Your Slices In addition to the Detect, Split, Grid, and Manual modes that create Slices automatically (see section ↑16.4.
Sampling and Sample Mapping Slicing a Sample Shows the selected Sample with a couple of spread vertical lines in the waveform: this is where the Slices are going to be applied (i.e. cut). ▪ Hover a Slice with the mouse to select it (it is highlighted). Little “S” and “E” markers appear at the bottom of the Slice borders to indicate the start and end point of that Slice, respectively. ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2).
Sampling and Sample Mapping Slicing a Sample By moving the start and end points of Slices independently, you can create overlapping Slices or gaps between Slices. These default mouse actions are valid only if the SLICE and REMOVE buttons are disabled in the edit tools (5). Enabling any of them provides alternative mouse controls described below.
Sampling and Sample Mapping Slicing a Sample ◦ Click the start border of a Slice to delete that border and merge the Slice with the previous one. ◦ Click inside a Slice (i.e. anywhere between its borders) to remove the entire Slice. The corresponding part of the Sample is grayed out and won’t be exported as Slice. ▪ DELETE ALL: Click the DELETE ALL button to delete all proposed Slices and start slicing from scratch again. The SLICE and REMOVE buttons are mutually exclusive.
Sampling and Sample Mapping Slicing a Sample The Edit mode in the SLICE page.
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description Slicer Page Mode Select the Slicer edit mode. AUTO-SNAP The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads. It can be turned off so that slice points are instead placed exactly where you trigger them.
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description pattern. When Mono is selected and the slices are applied to a Group, the sampler polyphony is automatically set to 1 so only one voice will play at a time. The Choke Group is also automatically set to 1 so each new pad that is hit will always take priority over the previous one by cancelling it out.
Sampling and Sample Mapping Slicing a Sample 16.4.5 Applying the Slicing Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑16.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices. This is done via the three elements at the bottom right of the Slice page: 3 1 2 You can apply the slicing in various ways. (1) Apply button Exports the Slices to the same Sound.
Sampling and Sample Mapping Slicing a Sample ▪ If you drag to a Sound (in the Sound List at the left of the Sample Editor): ◦ The Slices will be mapped to individual notes of this Sound, starting with the bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bottom C as well (see section ↑5.1.3, Adjusting the Base Key for more information on the base key). Any previous content in the Sound will be replaced.
Sampling and Sample Mapping Slicing a Sample ▪ Replace Pattern: Upon Slice export a sequence of notes will be created in the current Pattern so that the Pattern reproduces the original, unsliced Sample. If the sequence is shorter than the current Pattern it will be repeated to fill the Pattern; if the sequence is longer than the Pattern the Pattern will be extended according to the Pattern Grid and the content of other Sounds will be repeated.
Sampling and Sample Mapping Slicing a Sample Dragging an individual Slice to another Sound. Applying a Sliced Sample to a Sound If you drag a Slice to a Group in the Group List (at the left of the Arranger), it will be exported to the first Sound slot of that Group. Any Sound loaded in that Sound slot will be replaced. When applying a sliced sample to a Sound in an otherwise empty Group, the root note of the Sounds in that Group is set to C-2, matching the key zones of the slices.
Sampling and Sample Mapping Slicing a Sample Exporting the Slices on the Controller Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑16.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices. This is done via the two commands at the top of the right display: APPLY… (Button 8).
Sampling and Sample Mapping Slicing a Sample 3. Press Button 8 (OK) to export the Slices. → The Slices will be mapped to individual notes of the selected Sound, starting with the bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bottom C as well (see section ↑5.1.3, Adjusting the Base Key for more information on the base key). Any previous content in the Sound will be replaced. Your controller will leave Sample mode and return to Control mode.
Sampling and Sample Mapping Mapping Samples to Zones 4. Press Button 8 (APPLY) to export the selected Slice. APPLY: Exporting the Slices to the Same Sound ► On the SLICE page, press Button 8 (APPLY) to export all Slices to the focused Sound itself. → The Sample currently loaded in that Sound will be replaced by its own Slices, each of them being mapped to a particular note. This is equivalent to pressing Button 7 (APPLY TO) and selecting the Sound in which you already are preparing the Slices. 16.
Sampling and Sample Mapping Mapping Samples to Zones {Commented by Christian Schulz, 09.09.2016 14:45:16: this image doesnt show an emtpy Zone list}The Zone page (here for an empty Sound). Opening the ZONE Page on Your Controller ► In Sampling mode, press Button 4 to access the ZONE page. The ZONE page on the controller. 16.5.
Sampling and Sample Mapping Mapping Samples to Zones 1 2 3 4 5 6 The Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4). (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑12.2.6, Using the Cue Bus for more information).
Sampling and Sample Mapping Mapping Samples to Zones ton (2) to switch between the Map view and the Sample view (the Sample view is visible when the Sample View button is enabled). The Map and Sample views are explained in detail in section ↑16.5.4, Selecting and Editing Zones in the Map View and ↑16.5.5, Editing Zones in the Sample View, respectively. (6) Zone settings: Displays the parameters for the focused Zone. See section ↑16.5.
Sampling and Sample Mapping Mapping Samples to Zones ► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system onto the empty area in the Zone List. or 1. Click the “+” at the end of the Zone List. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → A new Zone is created at the end of the list containing the dragged or selected Sample.
Sampling and Sample Mapping Mapping Samples to Zones or 1. Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load Sample… in the menu that opens. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → The dragged or selected Sample replaced the previous Sample in the target Zone. Selecting a Zone in the List ► Click any Zone entry in the Zone List to put it under focus.
Sampling and Sample Mapping Mapping Samples to Zones ▪ The other selected Zones are highlighted in white. Their settings are not displayed anywhere, however they will be affected by your actions in the Zone List and in the Map view (see section ↑16.5.4, Selecting and Editing Zones in the Map View for more on this). Mouse/Keyboard Action Command Multiple Selection Hold [Ctrl] ([Cmd] on macOS) and click several entries in the list Selects all clicked Zones. Click a selected Zone to deselect it (i.e.
Sampling and Sample Mapping Mapping Samples to Zones 3. In that menu selects Delete to remove the focused Zone only, or Delete Selected to remove all selected Zones. Moving Zones in the List You can move your Zones across the Zone List via drag and drop: 1. Select the Zone(s) you want to move. 2. Click and hold the mouse button, and drag your mouse vertically. As the mouse pointer moves, an insertion line appears at various places between the existing entries. 3.
Sampling and Sample Mapping Mapping Samples to Zones Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone. The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller.
Sampling and Sample Mapping Mapping Samples to Zones 1 4 2 3 The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound. ▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis represents velocities from 0 to 127. ▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle’s width) and a velocity range (the rectangle’s height).
Sampling and Sample Mapping Mapping Samples to Zones You can also add a Sample by dragging it directly onto the Sample Map. See section ↑16.5.7, Adding Samples to the Sample Map for more information. (2) Virtual keyboard Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of the selected Zone is indicated by the colored key. You can drag this key with the mouse to modify the root key.
Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Hold [Ctrl] ([Cmd] on macOS) and click several Zones Selects all clicked Zones. Click a selected Zone to deselect it (i.e. remove it from the selection). Hold [Shift] and click two Zones Selects both Zones and all Zones in-between. Click and drag a selection frame in the Sample Map Selects all Zones within or overlapping the frame. Press [Ctrl]+[A] ([Cmd]+[A] on macOS) Selects/deselects all Zones.
Sampling and Sample Mapping Mapping Samples to Zones For more information on the Edit and Slice pages, please refer to section ↑16.3, Editing a Sample and ↑16.4, Slicing a Sample, respectively. Sample Map Menu The Sample Map menu contains additional editing facilities. ► Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu. The commands in the Sample Map menu will affect all selected Zones.
Sampling and Sample Mapping Mapping Samples to Zones 1 2 5 4 3 The Sample view of the Zone page. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides following tools: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3). ▪ Play range markers (4) and loop markers (5): See below. ▪ Playhead indicator: When the Sample is played back (e.g.
Sampling and Sample Mapping Mapping Samples to Zones Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the focused Zone under another name and/or to another location on your computer. (2) Timeline Shows the time scale in seconds.
Sampling and Sample Mapping Mapping Samples to Zones 16.5.6 Adjusting the Zone Settings At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings in the software. The various sections always display the values for the focused Zone. If the MASCHINE window is not wide enough to display all Zone settings at once, a horizontal bar appears underneath to scroll to the desired section of parameters.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description ACTIVE Enable this to define a loop in the Sample of the focused Zone. When the play position reaches the loop, the playback is looped as long as the note is held. This can be useful to loop either a whole Sample or part of it, e.g., to simulate a longer tone. Note: this technique requires that you set the Sampler’s Type selector to AHD or ADSR on the Pitch / Envelope page (see ↑6.2.2, Page 2: Pitch / Envelope).
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN Sets the panorama position of the focused Zone. ROOT KEY Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. The root key is also indicated by the colored key on the virtual keyboard; to change it, you can drag it to another note on the keyboard.
Sampling and Sample Mapping Mapping Samples to Zones Editing Your Zones on Your Controller At the bottom of the left display, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings on the controller. The various parameters always display the values for the focused Zone. The parameters available in the Zone settings are spread over five pages. ► Use the Page buttons on the left of the displays to select the desired page.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description START (Knob 1) Adjusts the playback’s start point in the Sample of the focused Zone. END (Knob 2) Adjusts the playback’s end point in the Sample of the focused Zone. ► Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. In the waveform on the right display, the regions outside the play range are grayed out.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description END (Knob 3) Adjusts the end point of the loop. XFADE (Knob 4) Allows you to blend a little of the material near the loop start and end points in order to get a smoother, less abrupt loop. This is particularly helpful if the loop is inducing any clicks. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN (Knob 3) Sets the panorama position of the focused Zone. ROOT KEY (Knob 4) Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. Page 4 – ENVELOPE Parameters This amplitude envelope can be used to get rid of clicks after slicing; you can either apply it to the Zone of the whole Sample or to individual Zones for selected Slices.
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller, page 5 of 5: MAP parameters. Parameter Description KEY LO (Lowest Key, Knob 1) Sets the lowest note (key) of the focused Zone. KEY HI (Highest Key, Knob 2) Sets the highest note (key) of the focused Zone. VEL LO (Lowest Velocity, Knob 3) Defines the lowest velocity of the focused Zone. VEL HI (Highest Velocity, Knob 4) Defines the highest velocity of the focused Zone. 16.5.
Sampling and Sample Mapping Mapping Samples to Zones ▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the Sample Map the Zone will cover the root key only; dragging your mouse up in the upper half of the Sample Map will extend the Zone’s key range up to one octave above the root key; with your mouse at the top of the Sample Map, the Zone will cover the entire keyboard. ▪ As you release the mouse button, the Zone is created.
Sampling and Sample Mapping Mapping Samples to Zones 3. In the Browser, select the Sample you want to add to the map of the current Sound (see ↑3.2, Searching and Loading Files from the Library for more information on using the Browser on your controller). 4. Press Button 8 (LOAD) to load the Sample. → A new Zone is created that contains the added Sample. Your controller automatically switches back to Sampling mode and the new Zone is selected and appears on the right display, ready to be tweaked.
Appendix: Tips for Playing Live Preparations 17 Appendix: Tips for Playing Live MASCHINE is a very hands-on tool for producing music as well as for performing live. Here we have specifically gathered some tips to help you when playing live. If you are used to playing live, you may not need them, but maybe you will find some new ideas to integrate into your set. 17.1 Preparations 17.1.
Appendix: Tips for Playing Live Preparations 17.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 17.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an overload of your audio interface, this is a useful safety measure. However, you might experience a somewhat squashed and dull sound if you overuse the Limiter by feeding a lot of loud signals to it. Try it out and see what works best for you! See ↑14.1.
Appendix: Tips for Playing Live Basic Techniques 17.2.2 Use Scene Mode and Tweak the Loop Range Scene mode is useful to trigger different parts of an arrangement by switching Scenes, while changing the Loop Range adds another layer of improvisation. By using a short value for the Perform Grid, you can quickly combine Scenes and create new variations. Please refer to section --- MISSING LINK --- for more information. 17.2.
Appendix: Tips for Playing Live Special Tricks 17.3 Special Tricks 17.3.1 Changing Pattern Length for Variation Try a short Pattern Grid resolution like a quarter or eighth note and change the Pattern Length (see section ↑10.1.6, Adjusting the Arrange Grid and the Pattern Length) to create variations of a Pattern. If you select an even smaller value like 1/64th you can create stuttering breaks and rolls. 17.3.
Troubleshooting Knowledge Base 18 Troubleshooting If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help. Before getting help please make sure you have downloaded the latest MASCHINE software from Native Access. 18.1 Knowledge Base The Online Knowledge Base gathers useful information about your Native Instruments product and can be of great help to solve possible issues you may encounter.
Troubleshooting Registration Support ▪ The brand and specifications of your computer When installing new software or software updates, a Readme file is included that contains late breaking news and new information that was not yet included in the documentation. Please open and read this Readme file before contacting Technical Support. 18.3 Registration Support If problems occur during the product activation procedure, please contact our Registration Support team: www.native-instruments.com/regsuppfrm.
Glossary 19 Glossary In this glossary you will find short definitions for numerous terms used in the MASCHINE context. If you have any doubts about the meaning of a word, this is the place to check! Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. Arranger View The Arranger view allows you to combine Sections (references to Scenes), and arrange them into a song on the Timeline.
Glossary their audio. You then only have to set up the desired Sound(s) and Group(s) of your Project to send some of their audio to this bussing point. This basically is the way to set up send effects in MASCHINE! Channel Properties Channel properties are sets of parameters available at each Project level (i.e. for each Sound, each Group, and for the Master) that are independent of the Plug-ins loaded in that Sound/ Group/Master.
Glossary Event Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor, events are visually represented by rectangles in the Step Grid. Depending on the current view in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the select Sound slots only (Keyboard view). Groove Properties The Groove properties control the rhythmic relationship between events for the selected Group/ Sound or the Master level.
Glossary Header The Header is the topmost row of controls in the MASCHINE software window. It contains global settings, such as the Master Volume slider, the Transport controls, controls for global swing, tempo, time signature, etc. Keyboard View Keyboard view is the view of the Pattern Editor in which only events of the selected Sound are visible and editable. The Keyboard view provides a vertical on-screen keyboard that indicates the pitch of each event (one row per semi-tone).
Glossary Mute and Solo Muting allows you to bypass a Sound or a Group, whereas Soloing is pretty much the opposite: It mutes all other Sounds or Groups so that only the soloed Sound or Group is played. The combination of muting and soloing is a useful means both to play live and to test different sequences together.
Glossary Plug-in A Plug-in is an instrument or effect unit, either Internal or External (by Native Instruments or a third-party manufacturer), that can be loaded into a Plug-in slot to produce or alter sound. When a Plug-in is loaded into a Plug-in slot, the Plug-in appears in the Plug-in List in the left part of the Control area. Prehear The Prehear feature allows you to listen to Samples directly from the Browser without loading them into Sound slots first.
Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Arranger view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Arranger view and are used to arrange the Scenes into a larger musical structure.
Glossary Step Steps are elementary time blocks. They are notably used to apply quantization or to compose Patterns from your controller in Step mode. All steps together make up the Step Grid. In the software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size, e.g., to apply different quantization to different events or to divide the Step Grid into finer blocks to edit your Pattern more precisely.
Index Index Numerics A 16 Velocities Ableton Link in Pad mode [229] connecting to a network [104] joining a Link Session [104] Amplitude Envelope (Sampler) [304] ARRANGE button [428] [778] Arrange Grid [439] Arranger definition [890] switching views [749] Arranger view [776] definition [29] [890] Groups [751] Pattern area [752] Sections [751] Timeline [751] Arranger view button [749] ASIO driver [73] Assigning Macro Controls from parameters [584] MIDI CC Messages [585] Pages Pane [585] using the co
Index Assigning Patterns [760] [792] B Attribute Editor [153] Base key [231] [239] AU plug-ins [314] Beat Delay [709] Audio Bit depth rendering from Patterns [519] Audio driver (selecting) [72] exporting audio [220] reducing (effect) [720] Audio input [534] [641] BP2 (Filter mode) [307] Audio interface [885] Browser input and output routing [71] + PATTERNS button [145] selecting inputs and outputs [71] definition [29] [890] settings [71] File Type selector [126] Audio plug-in [327] in
Index C Compressor [660] Channel Control area Groove properties [246] Input properties (Audio page) [534] [641] Macro properties [582] Output properties (Audio page) [539] Output properties (Aux page) [544] Channel properties [532] definition [891] Groove [246] Input [534] [641] definition [891] Control Lane [493] definition [891] Control mode definition [891] Controller selecting Pad mode [228] Controller modes temporary vs.
Index events/notes (controller) [481] E events/notes (software) [479] Edit events/notes (controller) [472] D Delay effects [709] Delete events/notes (controller) [477] events/notes (software) [476] Group [210] Digital distortion [720] Display brightness [95] Distortion [718] avoiding [885] Driver selecting an audio driver [72] Drum program files importing [222] Duplicate Group [206] Pattern (software) [514] Sound [192] Duplicating Making Sections Unique [795] Dynamics effects [660] EDIT page (co
Index Freq Shifter [690] Gate [664] Event definition [892] Grain Delay [712] Event Edit mode (controller) [472] Grain Stretch [714] Event Select mode (controller) [465] Ice [694] Events insert effect [892] cut/copy/paste (controller) [481] Limiter [670] cut/copy/paste (software) [479] loading [627] definition [31] Lofi [720] deleting (controller) [477] manipulating [636] deleting (software) [476] Maximizer [674] editing (controller) [472] Metaverb [696] editing with the mouse [460] mu
Index Events vs.
Index G Output properties (Audio page) [539] Gate [664] Output properties (Aux page) [544] Grain Delay [712] pasting [206] Grain Stretch [714] saving [204] Groove [246] saving with Samples [212] Groove properties [246] set up as send effect [648] soloing [241] definition [892] triggering Sounds via MIDI notes [560] Group applying effects to [627] Group index [242] color [202] Group List [176] copying and pasting [206] Group mode (controller) [228] creating [199] quick erasing events [4
Index I K Ice [694] Key [231] [239] Ideas view KEYBOARD button [230] definition [29] [892] Keyboard mode Groups [750] activating [230] Pattern area [750] Scale [230] Scenes [750] using [230] Import MIDI to Pattern [523] IMPORT button [168] Importing your files into the Library [167] Input properties Keyboard mode (controller) [230] quick erasing events [477] selecting notes [468] Keyboard view definition [893] Audio page [534] [641] Input Quantization [454] Insert effect [892] MASCHINE
Index L Lock view Latency [73] [884] entering [269] LFO [680] [687] [692] recalling snapshot in Lock view [270] Library [108] updating snapshot [269] importing your own files [167] Locking a mode (controller) [37] [38] LIBRARY pane [110] Lofi [720] Limiter [670] Loop Optimize using [885] Link groups [235] exporting audio [219] LP2 (Filter mode) [307] Load Group with Patterns [145] Plug-in [282] Loading files using the controller [106] Lock feature using [268] Lock snapshot basics [268]
Index M automation [569] Macro Control connecting external equipment [101] definition [893] Macro Controls [582] controlling parameters via [569] disabling MIDI Lock Change [272] Assigning using the controller [590] disabling MIDI Scene Change [567] Unassigning using the controller [591] enabling MIDI Lock Change [272] Macro Controls (controller) [584] enabling MIDI Scene Change [567] Making Sections Unique [795] exporting from Pattern [520] MASCHINE Library [108] importing to Pattern [523]
Index recording (software) [491] MUTE (controller) [244] recording in Control mode (controller) [492] recording in Step mode (controller) [459] Modulation effects [685] Modulation Envelope (Sampler) [308] Modulation mode of the Smart Strip [275] Morphing between Lock snapshots [270] parameters [271] Move events/notes (software) [470] Group [209] Pattern [517] Plug-in [293] Scene (software) [770] Section (controller) [788] Sections (software) [787] Sound [195] Move events/notes (controller) [457] [474
Index N paste (software) [479] Name quantizing [481] Group [202] resizing (controller) [458] [475] Pattern [511] resizing (software) [470] Scene [773] selecting (controller) [465] [468] Sound slot [188] selecting (software) [464] Native Instruments Plug-ins [314] transposing (controller) [476] Native Kontrol Standard [60] transposing (software) [470] NKS [60] NOTES button [276] Normalize Notes mode of the Smart Strip [276] exporting audio [219] Note Repeat [886] Nudge events/notes (co
Index P adjusting length (software) [440] Pad mode options color [513] 16 Velocities [229] copying and pasting (controller) [516] Fixed Velocity [229] creating (controller) [507] Pad modes definition [894] Pad modes (controller) [228] Pad sensitivity [95] Pads Choke groups [233] Link groups [235] recording [447] Parameter creating snapshots using Lock [268] Scale TYPE [230] Parameter page definition [894] navigating [49] Parameter pages controlling parameters via host automation [569] controll
Index moving events/notes in Step mode (controller) [457] nudging events/notes (controller) [457] [474] [475] nudging events/notes (software) [472] paste content (software) [515] paste events/notes (controller) [481] paste events/notes (software) [479] pasting (controller) [516] quantizing events/notes [481] recording in Control mode (controller) [447] recording in Step mode (controller) [454] removing [760] [792] renaming [511] rendering audio from [519] resizing events/notes (controller) [475] resizing
Index setting Random mode note range [487] definition [31] [895] setting Random mode velocity range [487] loading [282] Pedal [106] moving [293] PERFORM button [275] muting [291] Perform FX saving presets [295] controlling using the Smart Strip [275] Perform Grid [755] Perform mode of the Smart Strip [275] Performing live using the Smart Strip [274] Phaser [692] Pinning a mode (controller) [37] [38] Pitch Bend applying using the Smart Strip [274] Switching instances [64] Plug-in slot bypassi
Index Preset External Plug-ins [323] Native Instruments Plug-ins [323] saving Plug-in presets [295] using VST/AU presets [323] Project R Randomizing Pattern Variation [486] Record Count-in [452] Input Quantization [454] definition [30] [895] Overdub mode [447] saving with Samples [213] Record Prepare mode (controller) [450] Replace mode [448] Q Quantization definition [895] quantizing after recording [481] quantizing while recording (controller) [454] Quick Browse [171] Record page (software) [81
Index Retrigger Scenes [755] S Reverb [699] Sample Reverberation effects [694] definition [895] REX files exporting with Group [212] importing to Sounds [221] Root key setting [876] [880] Routing [627] exporting with Project [213] importing into Library [167] missing [169] pre-listening [143] [144] Sample Editor [810] definition [895] Sample rate exporting audio [220] reducing (effect) [720] selecting [73] Sampler Plug-in [299] Amplitude Envelope [304] Sampling editing (controller) [827] edi
Index Group [204] selecting (controller) [765] Group with Samples [212] selecting (software) [764] Plug-in preset [295] transitions [755] Project with Samples [213] unique (controller) [772] Sound [190] unique (software) [771] Save button [106] Saving files using the controller [106] Scale in Keyboard mode [230] Scene Scene bank creating (hardware) [767] creating (software) [767] deleting (controller) [767] selecting (controller) [765] selecting (software) [764] appending (controller) [773]
Index duplicating (software) [794] Send MIDI Clock [77] [103] moving (controller) [788] Sequencer removing (controller) [797] definition [896] removing (software) [796] SETTINGS button [452] selecting (controller) [785] [787] Slice [837] selecting (software) [783] Section Arrange mode (controller) [778] Section bank exporting (controller) [857] exporting (software) [853] SLICE page (controller) [838] creating (hardware) [800] Slice page (software) [837] [838] creating (software) [800] Smar
Index definition [30] [896] duplicating [192] resetting [197] Soundcard [885] Groove properties [246] input and output routing [71] Input properties (Audio page) [534] [641] selecting inputs and outputs [71] Input properties (MIDI page) [560] settings [71] introduction [176] Stand-alone application [62] Macro properties [582] Step moving [195] definition [897] muting and soloing [241] STEP button [454] naming [188] Step Grid [442] Output properties (Audio page) [539] Output properties (A
Index T Tube saturation [724] Tag Filter TYPES Filter [112] using [128] Tags assigning Types and Sub-Types [157] creating [158] Take Undo/Redo [40] U Undo [39] [40] V Variation TAP (Metro) button [452] accessing mode [485] TAP button [252] adding to Pattern [485] Tape saturation [723] applying settings to selected Sound [486] Template Project Humanize mode parameters [486] Random mode parameters [487] plug-in [80] stand-alone [80] Tempo Velocity scaling [95] View switching [32] Tap [252
