Manual
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Table of Contents Table of Contents 1 Welcome to MASCHINE! ............................................................................................ 18 1.1 1.2 1.3 2 Where to Start? ........................................................................................................................... 19 What’s New in MASCHINE 2.0? ................................................................................................... 21 Manual Conventions ..............................................
Table of Contents 2.6 2.7 2.8 3 2.5.2 Preferences – Default Page ....................................................................................... 58 2.5.3 Preferences – Library Page ........................................................................................ 59 2.5.4 Preferences – Plug-ins Page ..................................................................................... 64 2.5.5 Preferences – Hardware Page ......................................................................
Table of Contents 3.4 3.5 3.6 3.7 4 3.3.2 Pre-Listening to Your Samples .................................................................................. 109 3.3.3 Loading Groups with their Patterns ........................................................................... 110 3.3.4 Displaying File Information ........................................................................................ 111 Editing the Files’ Tags and Properties ..............................................................
Table of Contents 4.3 4.4 4.5 5 4.2.6 Copying and Pasting Sounds ..................................................................................... 150 4.2.7 Moving Sounds .......................................................................................................... 151 4.2.8 Resetting Sound Slots ............................................................................................... 152 Managing Groups .............................................................................
Table of Contents 5.2.2 5.2.3 5.2.4 5.2.5 6 Mute and Solo ............................................................................................................ 190 Choke All Notes .......................................................................................................... 195 Groove ....................................................................................................................... 196 Level, Tempo, Tune, and Groove Shortcuts on Your Controller .....................
Table of Contents 7 Working with Patterns ............................................................................................... 244 7.1 7.2 7.3 7.4 Pattern Basics ............................................................................................................................ 244 7.1.1 Pattern Editor Overview ............................................................................................. 245 7.1.2 Navigating the Event Area ............................................
Table of Contents 7.5 7.6 7.7 7.8 8 Recording and Editing Modulation ............................................................................................. 306 7.5.1 Which Parameters can be Modulated? ....................................................................... 308 7.5.2 Recording Modulation ................................................................................................ 309 7.5.3 Creating and Editing Modulation in the Control Lane .....................................
Table of Contents 8.3 9 8.2.3 Selecting VST/AU Plug-in Presets via MIDI Program Change ..................................... 384 8.2.4 Sending MIDI from Sounds ........................................................................................ 385 Creating Custom Sets of Parameters with the Macro Controls ................................................... 389 8.3.1 Macro Control Overview ............................................................................................. 390 8.3.
Table of Contents 9.5.4 Plug-in Icons in Mix Mode .......................................................................................... 435 10 Using the Drumsynths ................................................................................................ 436 10.1 10.2 10.3 10.4 Drumsynths – General Handling ................................................................................................. 437 10.1.1 Engines: Many Different Drums per Drumsynth ................................
Table of Contents 10.5 10.6 10.4.1 Hi-hat – Silver ........................................................................................................... 475 10.4.2 Hi-hat – Circuit ......................................................................................................... 477 10.4.3 Hi-hat – Memory ........................................................................................................ 478 10.4.4 Creating a Pattern with Closed and Open Hi-hats .........................
Table of Contents 12.2 12.3 12.4 12.5 12.6 12.1.1 Compressor ............................................................................................................... 527 12.1.2 Gate ........................................................................................................................... 531 12.1.3 Transient Master ....................................................................................................... 534 12.1.4 Limiter ..........................................
Table of Contents 12.6.3 Saturator ................................................................................................................... 578 13 Creating a Song Using Scenes ................................................................................... 582 13.1 13.2 13.3 13.4 Arranger Basics .......................................................................................................................... 582 13.1.1 Arranger Overview ..........................................
Table of Contents 14.3 14.4 14.5 14.2.3 Arming, Starting, and Stopping the Recording .......................................................... 641 14.2.4 Checking Your Recordings ......................................................................................... 644 14.2.5 Location and Name of Your Recorded Samples .......................................................... 648 Editing a Sample ........................................................................................................
Table of Contents 15.2.3 15.2.4 Registration Support ................................................................................................. 706 User Forum ................................................................................................................ 706 16 Appendix: Tips for Playing Live .................................................................................. 707 16.1 16.2 16.3 Preparations .........................................................................
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! Where to Start? 1.1 Where to Start? MASCHINE provides you with many information sources. The main documents are meant to be read in the following sequence: 1. 2. 3. MASCHINE Setup Guide MASCHINE Getting Started and online video tutorials MASCHINE Manual (this document) The whole documentation set is available in PDF format and located within the MASCHINE installation folder on your hard disk.
Welcome to MASCHINE! Where to Start? MASCHINE Getting Started After reading the Setup Guide and following its instructions, your MASCHINE should be up and running. The next step is to read the MASCHINE Getting Started. This gives you 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.
Welcome to MASCHINE! What’s New in MASCHINE 2.0? ▪ Knowledge Base ▪ User Forum ▪ Technical Support ▪ Registration Support You will find more information on these in chapter ↑15, Troubleshooting – Getting Help. 1.2 What’s New in MASCHINE 2.0? Here is a short overview of the new or improved software and hardware features in MASCHINE 2.0. New Features ▪ MASCHINE STUDIO controller support: MASCHINE 2.0 supports the new groundbreaking MASCHINE STUDIO controller.
Welcome to MASCHINE! What’s New in MASCHINE 2.0? audio interface (e.g., the headphone output) and pre-listen to the cued channels without affecting the main output of MASCHINE — great during a live performance! The Prehear feature of the Browser, the metronome signal, as well as your recordings and the Slice previews in the Sample Editor are also sent to the Cue bus. Of course, the Cue channel can be controlled via the new Mixer like any other channel of MASCHINE. See section ↑9.2.6, Using the Cue Bus.
Welcome to MASCHINE! What’s New in MASCHINE 2.0? ▪ Extended MIDI/host automation and parameter mapping: You can now assign MIDI controls and host automation directly to MASCHINE parameters independently of the Macro Controls. This is done via the new Assignment area under the Control area. See section ↑8.2, Using MIDI Control and Host Automation. ▪ MIDI tracks in Patterns: You can now create and edit MIDI tracks at the Sound level for the desired MIDI messages within your Patterns.
Welcome to MASCHINE! What’s New in MASCHINE 2.0? ▪ Follow mode for Patterns and Scenes: The Arranger and the Pattern Editor now provide a Follow option that automatically synchronizes the display to the current playback position. See section ↑7.1.3, Following the Playback Position in the Pattern and ↑13.1.3, Following the Playback Position in Your Project.
Welcome to MASCHINE! Manual Conventions ▪ Adjustable Count-in: You can now adjust various settings of the Count-in. See section ↑7.2.4, Recording with Count-in. ▪ Re-designed Choke groups and Link groups: Choke groups and Link groups are now both available in Pad Mode. All Link groups, Choke groups also feature Master and Slave mode. See section ↑5.1.4, Using Choke Groups and ↑5.1.5, Using Link Groups. 1.
Welcome to MASCHINE! Manual Conventions ► Single instructions are introduced by this play button type arrow. → Results of actions are introduced by this smaller arrow. Naming Convention Throughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer. The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MASCHINE software and hardware.
Welcome to MASCHINE! Manual Conventions The unlabeled buttons and knobs on the MASCHINE STUDIO 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.
Basic Concepts Names and Concepts You Should Know 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 Names and Concepts You Should Know We will start with a list defining the most important concepts and names.
Basic Concepts Names and Concepts You Should Know Group A Group contains 16 Sound slots. In addition to the Effect Plug-ins applied to each individual Sound, a Group can have its own insert effect. These affect all the Sounds in the Group. A Group can also contain any number of Patterns (grouped into banks of 16 Patterns each). Refer to chapter ↑4, Managing Sounds, Groups, and Your Project for more information on Groups.
Basic Concepts Adjusting the MASCHINE User Interface Plug-in Each Sound, each Group, and the Master can hold any number of Plug-ins. Plug-ins can be instruments or effects, and they can be internal (included with MASCHINE), from other Native Instruments products (instruments or effects), or external (third-party VST/AU plug-ins). Instrument and Effect Plug-ins can be loaded in the first Plug-in slot of Sounds.
Basic Concepts Adjusting the MASCHINE User Interface The View menu in the Application Menu Bar (Windows depicted). The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (Mac OS X: [Cmd]+[F]). 2.2.2 ► 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 The Browser button in the Header. You can also show/hide the Browser from your computer keyboard via the [F4] function key. 2.2.3 ► Switching between Arrange View and Mix View Click the Mix View button at the top left of the Arranger to switch between the Arrange view and the Mix view. You can also select Arranger or Mixer from the View menu in the Application Menu Bar or from the View submenu in the MASCHINE menu. The Mix View button.
Basic Concepts Adjusting the MASCHINE User Interface 2.2.4 Minimizing the Mixer When MASCHINE is in Mix view, you can minimize/maximize the Mixer in the top part of the MASCHINE window: ► Click the arrow button at the bottom left of the Mixer to show and hide the channel details in the Mixer. Minimizing/maximizing the Mixer. 2.2.
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 Setting the Focus on a Group or a Sound To display the content and parameters of a particular Sound or Group, you first need to put it in focus.
Basic Concepts Common Operations Setting the Focus on a Group ► To put a Group in focus, click this Group in the Group List of the Arranger: → The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group.
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). 2. The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group. Click the desired Sound slot in the Sound List of the Pattern Editor: → The focused Sound slot is highlighted.
Basic Concepts Common Operations The focused Sound slot is highlighted. 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. 2.3.1.
Basic Concepts Common Operations → The corresponding Sound is now in focus. Once the Sound is focused you can use Button 1–3 above the left display to quickly switch between the Master, the containing Group and the focused Sound! See section ↑2.3.2, Switching Between the Master, Group, and Sound Level for more information. 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. 2.3.
Basic Concepts Common Operations → The selected tab lights up. The name of your Project, the focused Group or the focused Sound appears on the left display (under the MASTER, GROUP, and SOUND tabs), and the displays show the Plug-in parameters and Channel properties of the Master, the focused Group or the focused Sound, respectively. 2.3.
Basic Concepts Common Operations area, showing a square of four buttons representing the various sets of Channel properties available for the selected Sound, Group or the Master: 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).
Basic Concepts Common Operations Navigating Parameter Pages In some situations, the selected Plug-in or Channel properties provide more parameters than the display(s) of your controller and the Parameter area in the software can show at once. Examples of this are the parameters for the Groups’ or Sounds’ Output properties and those for the Sampler Plug-in. In these cases, the parameters are divided into several Parameter pages that you can easily navigate with the hardware and software.
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. 2.3.3.
Basic Concepts Common Operations 2. At the top left of your controller, press the CHANNEL button to display the Channel properties or the PLUG-IN button to display the Plug-in slots of the selected Sound, Group or the Master. 3. Press Button 1 (MASTER), Button 2 (GROUP) or Button 3 (SOUND) to display the Plug-ins and Channel properties of the Master, the focused Group or the focused Sound, respectively.
Basic Concepts Common Operations 5. 6. 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. Use Knobs 1–8 under the displays to adjust the value of the parameters available on the selected page.
Basic Concepts Common Operations 1. 2. 3. 4. 5. 6. → Hold NAVIGATE to enter Navigate mode (or pin it by pressing NAVIGATE + Button 1). Press the CHANNEL button to display the Channel properties or the PLUG-IN button to display the Plug-in slots of the selected Sound, Group or the Master. Press Button 5/6 to navigate the Channel properties or Plug-ins. The name of the selected Channel properties or Plug-in appears between the left and right arrows under Button 5 and 6.
Basic Concepts Common Operations MASCHINE 2.0 provides two different undo/redo features, each of them being suited for specific situations: ▪ Step Undo allows you to cancel your last single action. ▪ Take Undo allows you to cancel your last group of actions. Step Undo Step Undo/Redo is the classic undo/redo found in most applications. It cancels or re-executes each single action you have performed.
Basic Concepts Common Operations The commands in the Edit menu additionally shows which action will be undone/redone! Take Undo is available in following situations: ▪ Recording in Control mode ▪ Recording in Step mode ▪ Recording modulation Outside of these three situations, Take Undo has the same effect as Step Undo (see above). 2.3.4.
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. 2.3.5.1 Pinning a Mode on the MASCHINE STUDIO Controller ► To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN, etc.) + Button 1 above the left display.
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 Stand-Alone and Plug-in Mode 2.4 Stand-Alone and Plug-in Mode You can run the MASCHINE software as a stand-alone application or integrate it into your favorite Digital Audio Workstation (or DAW, in short) by loading it as a plug-in. The MASCHINE software is available in the VST, Audio Unit, and AAX plug-in formats.
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 ↑2.6, Audio and MIDI Settings).
Basic Concepts Stand-Alone and Plug-in Mode 2.4.2 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. Click the Connect button to connect the controller to that instance.
Basic Concepts Stand-Alone and Plug-in Mode ◦ Rule 1: The MASCHINE STUDIO controller focus has priority over the MK2 controllers (MASCHINE MK2 and MASCHINE MIKRO MK2), which themselves take priority over legacy controllers (MASCHINE and MASCHINE MIKRO). ◦ Rule 2: The MASCHINE controllers (legacy and MK2) have priority focus over MASCHINE MIKRO controllers (legacy and MK2). ◦ Rule 1 has priority over rule 2. 2.4.
Basic Concepts Preferences 2.5 Preferences The Preferences panel lets you specify various settings for MASCHINE. ► To open the Preferences panel, click Preferences… in the Maschine menu (Mac OS X) or File menu (Windows) of the Application Menu Bar, or in the File submenu of the MASCHINE menu: Preferences… in the File menu of the Application Menu Bar (Windows depicted), and in the File submenu of the MASCHINE menu. The following pages are available in the Preferences panel: ▪ General: see ↑2.5.
Basic Concepts Preferences ▪ Hardware: see 2.5.5 Preferences – Hardware Page. ▪ Colors: see ↑2.5.6, Preferences – Colors Page. 2.5.1 Preferences – General Page The General page holds a few global settings. ► To display the General page click the General tab on the left of the Preferences panel. The Preferences – General page.
Basic Concepts Preferences Setting Description Startup Reload Last Project If this option is checked, the last Project you worked on will automatically load the next time you start MASCHINE. Recording Audio 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 ↑2.5.2, Preferences – Default Page).
Basic Concepts Preferences 2.5.2 Preferences – Default Page The Default page allows you to define a few default settings that will be used for every new Project. ► To display the Default page click the Default tab on the left of the Preferences panel. The Preferences – Default page.
Basic Concepts Preferences Setting Description Metronome Settings Down Beat Sample and Up Beat Here you can select audio files to be used as up and down beat of the metSample ronome, respectively. The fields display the locations of the audio files selected for use. Click the fields to select other files. Click the little crosses on the right of the fields to remove the custom audio files and use the default metronome sounds instead.
Basic Concepts Preferences The LIBRARY pane of the Browser is described in section ↑3.2, Searching and Loading Files from the Library. ► To display the Library page click the Library tab on the left of the Preferences panel. At the top of the page, the Factory and User buttons allow you to switch between the Factory pane and the User pane. Factory Pane ► To display the Factory pane, click the Factory button at the top of the Library page. The Preferences panel – the Library page’s Factory pane.
Basic Concepts Preferences Element Description Location column Shows 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 Shows 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 User pane shows all user libraries currently used. These include MASCHINE’s standard 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. Element Description Location column Shows 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.
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. 2. → Click Add at the bottom of the pane. A folder selection dialog opens up. In the dialog, navigate to the desired folder on your computer and click OK (Choose on Mac OS X). 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 Mac OS X) 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.
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 ▪ If you enable the Use NI Audio Units checkbox, all Native Instruments’ AU plug-ins are enabled in the list above and are available for loading in MASCHINE. In order to distinguish them from the VST versions, Plug-in entries in the Native Instruments submenu of the Plug-in menus and in the Plug-in Browser will display either (VST) or (AU) after their name.
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 plugins), 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. Setting Description Pads Sensitivity Use the Sensitivity slider to adjust how sensitive the pads respond to your touch. This sets the minimum threshold at which the MASCHINE STUDIO controller will register a “hit.
Basic Concepts Preferences Setting Description Display Brightness The Brightness slider allows you to adjust the brightness of both left and right displays of the MASCHINE STUDIO controller. Adjusting the Settings from the Hardware You also have access to the Sensitivity and Brightness settings from your controller. To do this, you first have to enter MIDI mode: 1. 2. 3. 4. 5. 6. Press SHIFT + CHANNEL (MIDI) to switch your controller to MIDI mode.
Basic Concepts Preferences The Preferences panel – Colors page. Setting Description Scene Default Selects a default color for your Scenes. In the menu you can choose 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 Selects a default color for your Groups. In the menu you can choose the desired color from the 16-color palette.
Basic Concepts Audio and MIDI Settings Setting Description Sound Default Selects a default color for your Sounds. In the menu you can choose the desired color from the 16-color palette. The color selected as default is highlighted in the menu. If you select Auto each Sound will have a different default color. If you select Use Group Color (default setting) Sounds will by default mirror the color of the Group they belong to.
Basic Concepts Audio and MIDI Settings When MASCHINE is running as a plug-in in a host application, its audio and MIDI configuration is managed by the host, and the Audio and MIDI Settings panel is not available. See section ↑2.4, Stand-Alone and Plug-in Mode for more information on using MASCHINE in a host environment. The Audio and MIDI Settings panel contains three pages: Audio, Routing, and MIDI. Each page can be displayed by clicking the corresponding tab at the top. 2.6.
Basic Concepts Audio and MIDI Settings Setting Description Status This shows you 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. Latency Mac OS X: This slider allows you to adjust the latency of your audio interface in samples.
Basic Concepts Audio and MIDI Settings The Routing page of the Audio and MIDI Settings panel (entries may vary on your computer). Element Description Inputs By clicking Inputs, you can define 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.
Basic Concepts Audio and MIDI Settings The MIDI page of the Audio and MIDI Settings panel (entries may vary on your computer). Element Description Inputs Clicking Inputs displays a list of all the available MIDI inputs of your system. You can activate/deactivate each input by clicking the fields in the Status column, which displays the current status of the corresponding port. Outputs Clicking Outputs displays a list of all the available MIDI outputs of your system.
Basic Concepts Integrating MASCHINE into Your MIDI Setup 2.7 Integrating MASCHINE into Your MIDI Setup You can quickly integrate MASCHINE into your 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 Your MIDI Setup 3. If MASCHINE is running as a plug-in in a host application, the MIDI configuration is managed by the host (see section ↑2.4, Stand-Alone and Plug-in Mode). Please refer to your host documentation to know how to configure MIDI in your host. MIDI Indicators On the top panel of your controller you will find four MIDI indicators in the top right corner showing you at anytime the MIDI activity of the controller.
Basic Concepts Integrating MASCHINE into Your MIDI Setup Sync to External MIDI Clock activated. You have to define at least one input in the Audio and MIDI Settings panel’ MIDI page to enable Sync to External MIDI Clock. When Sync to External MIDI Clock is checked, the Play button in the MASCHINE Header and the PLAY button on your controller are deactivated.
Basic Concepts Using Footswitches with Your MASCHINE STUDIO Controller To enable it, select Send MIDI Clock from the File menu: Send MIDI Clock activated. You can adjust the MIDI Clock offset in the MIDI page of the Audio and MIDI Settings panel. See ↑2.6.2, Audio and MIDI Settings – Routing Page for more information.
Basic Concepts Using Footswitches with Your MASCHINE STUDIO Controller The footswitch inputs on the rear panel of your controller. These sockets allow you to control the transport in MASCHINE via footswitches: ▪ FOOTSWITCH 1: Starts/stop the playback in MASCHINE. This is equivalent to the PLAY button on your controller and the Play button in the software’s Header. ▪ FOOTSWITCH 2: Engage/disengage recording in MASCHINE.
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 ↑3.5, 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 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. By clicking one of them it causes only the files of the selected type to be displayed in the Result list (8). See section ↑3.
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 ↑3.2.3, 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 ↑3.4, 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 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 subbank. ▪ 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 The jog wheel and the FUNCTION buttons in Browse mode. 1. Press the Left/Right FUNCTION buttons to select the field you want to control from the jog wheel. The selected field is indicated by thin brackets: 2. Turn the jog wheel to change the value in the selected field. → This way you can control the product selection (left display), the tag filter (right display), as well as the result list with the scrolling comfort of the jog wheel.
Browser Searching and Loading Files from the Library 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. 3.2.2.
Browser Searching and Loading Files from the Library ► Click the NI icon to search the factory content, or click the User icon to search the user content. 3.2.3.1 Choosing the Factory or User Content on the MASCHINE STUDIO 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). 3.2.
Browser Searching and Loading Files from the Library 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 (3) Product list: Shows the products for which files are available in the MASCHINE Library. Click the desired 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 Result list below will be filtered accordingly. The closed Product selector with an Instrument selected.
Browser Searching and Loading Files from the Library 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). ► To select a particular bank for the selected product, click the Bank menu under the product icon and choose a bank from the available entries. → Upon your selection the Bank menu closes and displays the selected bank.
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 ► 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). Selecting a product category, a product, a bank, and a sub-bank on your controller.
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 ↑3.2.4, 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 Selecting Multiple Tags from the Same Level In both TYPES and MODES filter you can select multiple tags from the same level: ► Hold [Shift] on your computer keyboard and click two tags at a particular level to select these tags and all tags in-between. ► Hold [Ctrl] ([Cmd] on Mac OS X) on your computer keyboard and click any number of tags at a particular level to select these particular tags.
Browser Searching and Loading Files from the Library 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. “bass” and “analog”) just enter both words in the Search field with a space in between.
Browser Searching and Loading Files from the 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 ▪ If it is a Sound, it will be loaded into the Sound slot currently in focus. ▪ If it is an Instrument preset, it will be loaded into the first Plug-in slot of the Sound slot currently in focus. ▪ If it is an Effect preset, it will be loaded into the selected Plug-in slot. ▪ If it is a Sample, it will be loaded into the Sound slot currently in focus. The Sampler Plug-in will be automatically loaded in the first Plug-in slot in order to play the Sample.
Browser Searching and Loading Files from the Library ◦ If you drop the Groups onto the “+” at the end of the Group List, the Groups will be appended to the existing Groups in the Group List.
Browser Searching and Loading Files from the Library You cannot load multiple Projects at once. Drag and drop of Groups and Sounds is possible only in Arrange view. Deleting Files in the Result List You can delete user files directly from the Result list: 1. 2. Right-click ([Ctrl]-click on Mac OS X) the desired user file and select Delete from the context menu.
Browser Searching and Loading Files from the Library The right display showing a result list with the Markadellic Sound selected. Check that the desired Group or Sound slot is focused and/or the desired Plug-in slot is selected before loading the file from the Browser to avoid loading it at the wrong place! To set the focus to a Group or a Sound slot, you can use Group buttons A–H and the pads without leaving Browse mode (see section ↑2.3.1, Setting the Focus on a Group or a Sound to know how to do it).
Browser Additional Browsing Tools 3.3 Additional Browsing Tools At the bottom of the Browser, the Control bar provides various useful tools that will help you quickly find and check the files you need. The Control bar at the bottom of the Browser. Some of the tools are available only for specific file types. The next sections describe each of these tools.
Browser Additional Browsing Tools Autoload is not only useful to look for an appropriate Sound, Group, Plug-in preset or Sample, but can also be very inspiring: With a Pattern playing, browse through your Library with Autoload activated and listen to Sounds and Samples you normally would not use in that context. 3.3.1.
Browser Additional Browsing Tools Prehear is particularly useful on your controller! See below for more details. Prehear and Autoload are mutually exclusive: Only one of them can be active at a time. For more information on the Autoload feature, see section ↑3.3.1, Loading the Selected Files Automatically. 3.3.2.1 Pre-Listening to Your Samples on the MASCHINE STUDIO Controller When browsing Samples on your controller: ► Press Button 7 (PREHEAR) to enable/disable the Prehear function.
Browser Additional Browsing Tools When browsing Groups, you can choose to load each Group with or without its Patterns. This is done by clicking the Load Patterns button at the bottom of the Browser: The Load Patterns button. ▪ Load Patterns button enabled: Groups will be loaded together with their Patterns. This allows you to use the Patterns you have saved with the Groups.
Browser Editing the Files’ Tags and Properties The Information box provides various information on the selected file(s). If the selected files have different characteristics, the corresponding fields in the Information box will read multi. 3.4 Editing the Files’ Tags and Properties The Attribute Editor allows you to assign or edit tags and properties to your MASCHINE files to make it easier to find them later when browsing the MASCHINE Library in the LIBRARY pane (see section ↑3.
Browser Editing the Files’ Tags and Properties The Attribute Editor (here showing the TYPES page). The Attribute Editor affects the files selected in the Result list of the LIBRARY pane (see section ↑3.2.7, Using the Result List) or the files within the folders selected for import in the FILES pane (see section ↑3.5.5, Using the Result List).
Browser Editing the Files’ Tags and Properties Factory files are loaded in the Attribute Editor. The Attribute Editor will display the various attributes for these files, but you won’t be able to modify them. 3.4.2 The BANK Page The BANK page is only available when opening the Attribute Editor from the LIBRARY pane. The BANK page of the Attribute Editor. The BANK page shows you (from top to bottom) the product, bank, and sub-bank(s) of the selected file(s).
Browser Editing the Files’ Tags and Properties the hierarchical levels of the Type tags (see section ↑3.2.5, Selecting Type and Mode Tags): ▪ The MODES page is available when opening the Attribute Editor from the LIBRARY pane to edit the tags of Instrument and Effect presets. When opening the Attribute Editor from the FILES pane to import new files, the MODES page is always available, however it will be taken into account only if Instrument or Effect presets are imported.
Browser Editing the Files’ Tags and Properties ▪ 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. → A check mark appears in the check box.
Browser Editing the Files’ Tags and Properties ► 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. Adding a new Sub-Type for the Loops Type. Deleting Tags Tags in the TYPES and MODES pages cannot be deleted manually. However, if a tag is not assigned to any file anymore, it will be automatically removed from its column. 3.4.
Browser Loading and Importing Files from Your File System As with the other pages of the Attribute Editor, the fields in the PROPERTIES page can be modified only if you have selected user files in the Result list. The attributes of factory files cannot be edited. 3.5 Loading and Importing Files from Your File System The Browser’s FILES pane allows you to browse your file system and import the desired folders to your MASCHINE Library.
Browser Loading and Importing Files from Your File System 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 ↑3.5.2, Using Favorites. (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system. See section ↑3.5.
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 ↑3.5.4, 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 ↑3.5.5, Using the Result List.
Browser Loading and Importing Files from Your File System → The selected location is loaded in the Location bar and its content appears in the Result list. Favorites can be useful if you often return to the same location while browsing your file system in the FILES pane: Save this location as a Favorite, and at any time you will be only one click away from that location! The default Favorites are the roots of each of your hard disks, your desktop folder, and your user folder.
Browser Loading and Importing Files from Your File System ▪ 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 ► 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. 3.5.5 Using the Result List The Result list of the FILES pane shows the files and folders found in the path loaded in the Location bar above (see section ↑3.5.3, Using the Location Bar). Only MASCHINE-compatible files are shown in the Result list.
Browser Loading and Importing Files from Your File System Icons for various file types. Navigating Your File System in the Result List You can further browse your file system in the Result list by opening any of the displayed folder: ► 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: ↑3.5.2, Using Favorites. ▪ Location bar: ↑3.5.
Browser Loading and Importing Files from Your File System Loading Files from the Result List You can load files from the Result list using the same methods as in the Result list of the LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section ↑3.2.7, Using the Result List. Additional Features in the Result List ► Right-click ([Ctrl]-click on Mac OS X) any entry in the Result list to open a context menu with additional commands.
Browser Loading and Importing Files from Your File System 3.5.6 Importing Files to the MASCHINE Library Apart from the huge MASCHINE factory library, you might want to use your own samples or any MASCHINE files you received from other users. As described previously, you can load them directly from the FILES pane. If this can come in handy, e.g., to quickly check received files in a MASCHINE context, it can get tedious when using the files on a regular basis.
Browser Locating Missing Samples → All MASCHINE-compatible files found in the selected folder(s) are imported to your Library. They are added as user content (User icon selected in the Content selector of the LIBRARY pane, see section ↑3.2.3, Choosing Between Factory and User Content). Furthermore, 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 ↑2.5.
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. ► Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound. ► 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 would now have to try to remember the name or the tags you used to find it, or browse all kick 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 3.7.1 Using Quick Browse on the MASCHINE STUDIO Controller Quick Browse from Control Mode From your controller you can easily access Quick Browse for Samples and Plug-in presets directly from Control mode: 1. 2. 3. 4. Press PLUG-IN to enter Control mode and access your Plug-ins. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want to recall the search query — see section ↑2.3.1, Setting the Focus on a Group or a Sound and ↑2.3.
Browser Using Quick Browse 5. → Furthermore, at the bottom right of your controller the jog wheel’s ring and the BROWSE indicator light on as well, indicating that the jog wheel is ready for browsing! Turn the jog wheel to select the desired Plug-in preset or Sample from the list, and press the jog wheel to load it. The selected file replaces the previous file in your Project. Quick Browse from Browse Mode You can also access Quick Browse from the Browser on your controller.
Browser Using Quick Browse 4. Turn the jog wheel or Knob 8 to select the desired Plug-in preset or Sample from the list, and press the jog wheel or Button 8 (LOAD) to load it. → The selected file replaces the previous file in your Project.
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 The Sound List (1) and the Group 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 ↑9.2, 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 your Project you can have any number of Groups. You can create, fill up, and delete Groups as you see fit. If you delete a Group, all following Groups are shifted up in the Group List to fill the gap. If you use more than eight Groups, another Group bank is automatically created. 4.1.3 Selecting Multiple Sounds or Groups In MASCHINE you can select multiple Sounds or multiple Groups at once.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master on these parameters. But you can select additional objects on top of the focused object, thereby extending your selection. Selected objects are highlighted in the Sound/Group List but their leading letter and/or number stays gray. Other Sounds were added to the selection (but they are not focused).
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ Channel properties: Parameter adjustments apply to all selected Sounds/Groups for any parameter in any set of Channel properties. See chapter ↑8, Audio Routing, Remote Control, and Macro Controls for more information on the Channel properties. ▪ Plug-ins: Parameter adjustments apply to all selected Sounds/Groups that have the same Plug-in loaded in the same Plug-in slot.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Action Function Click selected object Sets the focus to this object while retaining the selection. [Ctrl]-click ([Cmd]-click on Mac OS X) unselected ob- Adds the object to the selection. ject [Ctrl]-click ([Cmd]-click on Mac OS X) selected object Deselects the object — except for the focused object, which cannot be deselected.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 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. The pad lights up to indicate that the Sound slot is focused (and selected). Unlit pads indicate unselected, empty Sound slots, and half-lit pads indicate unselected Sounds.
Managing Sounds, Groups, and Your Project Managing Sounds ◦ Pressing the Group button / pad of a selected Group/Sound only sets the focus to that Group/Sound without changing the current Group/Sound selection. The Group button / pad stays fully lit. ▪ When MULTI is enabled (Button 8 on): ◦ Pressing the Group button / pad of an unselected Group/Sound adds it to the current Group/Sound selection without changing the current focus. The Group button / pad lights up.
Managing Sounds, Groups, and Your Project Managing Sounds 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. You can select Sound slots in either the Sound List or the Pad view as you see fit, both selections are strictly equivalent.
Managing Sounds, Groups, and Your Project Managing Sounds You can also recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑3.7, Using Quick Browse for more information. In your operating system, Sound files have the extension “.mxsnd” (MASCHINE 2) or “.msnd” (MASCHINE 1.x). Please refer to chapter ↑3, Browser for more information on the Browser. 4.2.1.
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.2.1 Pre-listening to Sounds on the MASCHINE STUDIO Controller On your controller, pre-listening to Sounds actually is the default behavior: In Control mode, when you press a pad you both trigger its Sound and bring it into focus at once. Hence, you don’t need to enable anything, pre-listening to Sounds in the focused Group is working out of the box.
Managing Sounds, Groups, and Your Project Managing Sounds 2. Modify the name of the Sound slot via your computer keyboard. Press [Enter] on your computer keyboard to confirm. 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. In this case, click anywhere else in the MASCHINE plug-in window to confirm the name you have entered. 4.2.4 Changing the Sound’s Color You can change the color of each individual Sound in the software.
Managing Sounds, Groups, and Your Project Managing Sounds Once you have set a custom color for a Sound as described above, the Sound will retain its color when you move it in the Sound List, and the color will be stored with the Sound when you save the Sound for later use. Note that you can select the same color as the one used by default: In that case the color (even unchanged) will be considered as a custom color and will follow the Sound as you move it. 4.2.
Managing Sounds, Groups, and Your Project Managing Sounds 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 Sound dialog opens and lets you save your modified Sound to your user library. See next paragraph for more details. The same happens with Sounds you have built from scratch.
Managing Sounds, Groups, and Your Project Managing Sounds 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. 4.2.6 Copying and Pasting Sounds You can copy and paste Sounds across Sound slots (and thereby across pads) and Groups in your Project. In the software, Sounds are copied without their note content in the Pattern.
Managing Sounds, Groups, and Your Project Managing Sounds If you want to copy a Sound more than once, just keep on choosing Paste from the context menu on other Sound slots: the source Sound stays in the clipboard, ready for the next use! 4.2.6.1 Duplicating Sounds on Your Controller On your controller in Control mode, do the following to copy a Sound from one pad to another: 1. 2. 3. 4. → Press and hold DUPLICATE.
Managing Sounds, Groups, and Your Project Managing Sounds 1. 2. Click and hold the desired Sound slot(s) in the Sound List or in the Pad view. 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.
Managing Sounds, Groups, and Your Project Managing Sounds ► To reset a Sound slot, select it in the Sound List or in the Pad view and press [Del] on your computer keyboard, or right-click (on Mac OS X: [Ctrl]-click) the Sound slot and choose Reset from the context menu. → The content of the Sound slot is removed and the Sound slot is reset to its default settings and name. Resetting a Sound slot. 4.2.8.
Managing Sounds, Groups, and Your Project Managing Groups Group Menu Many of the functions described in the following sections are available in the following two context menus: ▪ The context menu of the Groups in the Group List, opened via a right-click ([Ctrl]-click on Mac OS X) on the desired Group: ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on Mac OS X) on the Group name in the top left corner of the Pattern Editor: Both context menus are equi
Managing Sounds, Groups, and Your Project Managing Groups 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. ► To create a Group, click the “+” at the end of the Group List. → A new empty Group is created at the end of the Group List with the default name and color.
Managing Sounds, Groups, and Your Project Managing Groups To create a new Group: 1. 2. 3. Hold SHIFT and press the last lit Group button to select the last Group bank. Release SHIFT. Press the dimmed white Group button after all other lit Group buttons. → A new empty Group is created after the existing Groups with the default name and color.
Managing Sounds, Groups, and Your Project Managing Groups ◦ Drag it between two Groups to insert it between both. ◦ Drag onto the “+” at the end of the Group List to append it to the existing Groups. ▪ Double-click: Double-click the Group in the Browser or the Group file in your operating system to replace the focused Group in the Group List.
Managing Sounds, Groups, and Your Project Managing Groups Group renaming is performed like Sound renaming: 1. Double-click the name of the desired Group in the Group List or right-click ([Ctrl]-click on Mac OS X) the Group and select Rename from the context menu. The Group name is now highlighted and editable. 2. Modify the name of the Group. Press [Enter] on your computer keyboard to confirm.
Managing Sounds, Groups, and Your Project Managing Groups 1. Right-click ([Ctrl]-click on Mac OS X) 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 Saving Your Modified Group as a New Group If you want to save modifications you have made on a Group originating from a factory library, or if you don’t want to overwrite the original Group with your modified version, or if there is no original version of your Group (i.e. you built it from scratch), you can save it as a new Group file: 1.
Managing Sounds, Groups, and Your Project Managing Groups 4.3.6 Copying and Pasting Groups You can copy and paste Groups in your Project. In the software, Groups are copied without their Clips in the Arranger. To include the Clips in the copying operation, use DUPLICATE on your controller (see below)! To copy and paste Groups in the software: 1. 2. Right-click (on Mac OS X: [Ctrl]-click) the Group you want to copy in the Group List or the Group name in the top left corner of the Pattern Editor.
Managing Sounds, Groups, and Your Project Managing Groups 3. Right-click (Mac OS X: [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 except for its Clips (its Patterns, though, will be copied as well).
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 2. While holding the mouse button, drag your mouse vertically toward the desired location in the Group List. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Group. 3. When the insertion line appears at the desired location, release the mouse button. → The Group takes its new place in the Group List. Of course, this new place is also mirrored on your controller. 4.3.
Managing Sounds, Groups, and Your Project Managing Groups Deleting a Group. 4.3.8.1 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 ↑2.5.
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. Element Description Project Displays the name and location of the Project file to be created.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio You can also save single Groups with their Samples. See ↑4.4.1, Saving a Group with its Samples. 4.4.3 Exporting Audio In some cases you might want to render your Groups, Sounds or your complete Project as audio files in order to edit them further in other applications or burn a CD. The format of the exported audio files is WAV. This function is only available in the software.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 4. 5. If you wish, click the Options tab at the top and adjust the export options in the Options page that appears (see description below). At the bottom of the panel, click Export to start the export process, or Close to cancel the operation and close the panel without exporting anything.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Source Output menu and Output list underneath Selects what will be exported. The content of the Output list under the menu depends on your selection in the menu: Master Output: Select this to export the Master output signal (including all Groups and Sounds and their effects) to one audio file. The Output list underneath contains only one entry: Master Output.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Options page of the Export Audio panel. Following parameters are available: Element Description Options Normalize If this option is checked, the resulting audio file(s) will be normalized, i.e. the exported audio will be brought to the highest possible level without clipping (0 dBFS).
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Loop Optimize Optimizes the exported audio file for use as a loop: If Loop Optimize is disabled, the exported audio file will be prolonged to keep, e.g., the tail of a reverb. The end of the exported audio will always correspond to a bar division. If Loop Optimize is enabled, the exported audio file will have the exact range of the Loop Range.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats ▪ If Sound Outputs is selected in the Output menu the audio files will be named as follows: [Project name] - [Sound name] - [BPM].wav In addition, if the name of the file about to be exported is already used in the destination folder, a hyphen followed by an index number is added to the name (e.g., “ - 1,” “ - 2,” “ 3,”) to avoid any file being overwritten. 4.5 Importing Third-Party File Formats 4.5.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 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, 1000, 2500 MPC4000 MPC2000 (XL) MPC3000 MASCHINE Parameter Velocity to Level x − − − Velocity to Volume Mute Group x − − − Choke Group Importing MPC Program Files 1. 2. 3. To import an MPC Program file, open the Browser in the MASCHINE software and click the FILES tab. Navigate to the MPC Program file you want to import and double-click it.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 4. Click OK to start the import procedure (or Cancel to close the panel without importing anything). 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.
Playing on Your Controller Adjusting Your Pads 5 Playing on Your 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 Your Pads MASCHINE provides you with numerous features to finely tailor 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.
Playing on Your Controller Adjusting Your Pads ► Click the Pad View button to show or hide the Pad view. 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.
Playing on Your Controller Adjusting Your 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 Mode By default, your pads play all Sounds of the selected Group — we call this Group mode.
Playing on Your Controller Adjusting Your Pads Parameter Description KEYBOARD (Button 2) Activates/deactivates Keyboard mode. In this mode your pads play notes of the focused Sound at 16 different pitches. This is well suited for melodic instruments. The right display indicates the pitches played by each pad (all are shown in the color of the focused Sound). See the next paragraph for a detailed description of this mode.
Playing on Your Controller Adjusting Your Pads → If you hit the pads now, you will hear that they all play the same Sound, but each with a different pitch. When you leave Pad Mode, the PAD MODE button stays dim lit to indicate that Keyboard mode is active. Alternatively, you can use the following shortcut: ► In any mode, press SHIFT + PAD MODE to quickly switch your pads between Keyboard mode and Group mode.
Playing on Your Controller Adjusting Your Pads The rear side of the MASCHINE hardware with the MIDI IN and OUT sockets. 5.1.3 Adjusting the Base Key In Group mode, the base key defines the key (or pitch) at which the selected Sound will be played when its pad is pressed. In Keyboard mode, it defines the key played by pad 1 on your controller; pads 2–16 will then play keys from [base key + 1 semitone] up to [base key + 15 semitones].
Playing on Your Controller Adjusting Your Pads 1. 2. 3. Hold the PAD MODE button to enter Pad Mode (or press PAD MODE + Button 1 to pin it). On the right display, the key indicated for pad 1 (in the bottom left corner) is the current base key. 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. The new values are indicated for all pads on the right display. Release PAD MODE (or press it again if you pinned the mode).
Playing on Your Controller Adjusting Your Pads 2. 3. 4. 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. In the same Choke section click the Mode value (Master or Slave) to switch the Sound between Master (default setting) and Slave mode. Repeat the steps above to assign other pads to the same Choke group. The Hi-hat is an ideal candidate for making use of Choke groups! See ↑10.4.
Playing on Your Controller Adjusting Your Pads Link groups affect not only the notes you play on the pads and the notes triggered by the Patterns, but also the MIDI notes controlling your Sounds. Link groups are a “live” feature: They only affect the note triggers. In Record mode, Link groups don’t affect the notes recorded in your Patterns — in other terms notes won’t be recorded for the linked pads! Notably, this allow you to modify your Link group assignments after recording.
Playing on Your Controller Playing Tools 5.2 Playing Tools On top of the various pad settings described in the previous section (see ↑5.1, Adjusting Your Pads), MASCHINE also offers you a series of intuitive playing tools particularly useful when playing live: ▪ Note Repeat allows you to automatically repeat a Sound by holding its pad: ↑5.2.1, Note Repeat. ▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑5.2.2, Mute and Solo.
Playing on Your Controller Playing Tools 5.2.1.1 Using Note Repeat on the MASCHINE STUDIO Controller Note Repeat is a hardware-only feature. ► Press and hold NOTE REPEAT to enter Note Repeat mode. You can also press NOTE REPEAT + Button 1 to pin this mode and make it permanent. The Note Repeat mode on the controller.
Playing on Your Controller Playing Tools Element Description GATE (Knob 4) 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). Available values range from 0 % to 200 %: At low values the notes are very short. At 50 % notes and silences are equal. At 100 % (midcourse) each note lasts exactly until the next note is triggered.
Playing on Your Controller Playing Tools put properties (see section ↑8.1.2, Configuring the Main Output of Sounds and Groups) as well as in Solo and Mute mode on your controller: Activating the audio mute for Sounds will ensure that not only the events are muted, but any remaining audio as well. To momentarily mute all audio from all Sounds and Groups at once, please refer to section ↑5.2.3, Choke All Notes.
Playing on Your Controller Playing Tools ► To unsolo a Group, right-click (on Mac OS X: [Ctrl]-click) the Group index again. 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 Your Controller Playing Tools Muting a Group. ► To unmute the Group, click the Group index again. 5.2.2.1 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.
Playing on Your Controller Playing Tools The Mute mode on the controller. 1. Press and hold MUTE to enter Mute mode. You can also press MUTE + Button 1 to pin this mode and make it permanent. 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.
Playing on Your Controller Playing Tools Since soloing a Sound mutes all Sounds except one, the MUTE button can then be used to “release” Sounds that have been muted. You can use this technique to create a breakdown: Solo a given Sound such as a kick drum, then build the track up again by bringing the muted Sounds back in one at a time while holding the MUTE button. 5.2.2.
Playing on Your Controller Playing Tools 5.2.4 Groove The groove controls the rhythmic relationship between events in the selected channel (Sound, Group or Master). By shifting some of the events, you can e.g. give a shuffling, ternary touch to your Patterns. The groove can be adjusted for each channel individually via its Groove properties. A groove configured for a channel affects all its contained channels: ▪ At the Sound level, the Groove properties settings of a Sound affect that single Sound.
Playing on Your Controller Playing Tools 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. Values are measured in fractions of a whole note.
Playing on Your Controller Playing Tools This is how the same regular rhythm would be heard with various groove settings. The picture above only illustrates how the groove function affects the sound — adjusting the Groove properties will not effectively move events in the Patterns displayed in the Pattern Editor! 5.2.5 Level, Tempo, Tune, and Groove Shortcuts on Your Controller Your controller provides extra shortcuts for various important parameters.
Playing on Your Controller Playing Tools Level Shortcuts in the Master Section The Master section of your controller allows you to quickly adjust various level values in your Project. The Master section of your controller, here with the GRP button active. 1. 2. 3. 4. → To change the output level of the Master (i.e. the overall output level of MASCHINE), press MST and turn the Level knob. To change the output level of the Cue bus, press CUE and turn the Level knob.
Playing on Your Controller Playing Tools These shortcuts control the LEVEL parameter of the Audio and Cue section in the Audio page of the Master’s Output properties as well as the LEVEL parameter of the Audio section in the Audio page of the Group’s and Sound’s Output properties, respectively. See section ↑8.1.4, Configuring the Master and Cue Outputs of MASCHINE and ↑8.1.2, Configuring the Main Output of Sounds and Groups for a detailed description of these properties.
Playing on Your Controller Playing Tools 1. 2. 3. If you want to adjust the level, tune and/or swing values for a Sound, hold its pad (or hold SELECT + its pad if the pads are in Keyboard mode). In Keyboard mode you can also press SELECT + the pad of the desired Sound, then hold any pad (i.e. any pitch of that Sound). If you want to adjust the level, tune and/or swing values for a Group, hold its Group button (first navigate to its Group bank if necessary).
Playing on Your Controller Playing Tools You can also use the TAP button to adjust the current tempo: ► Hold TAP and turn the jog wheel to quickly adjust the tempo of your Project. Press and turn the jog wheel (or hold SHIFT while you turn it) to adjust the value in finer increments. 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.
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. In MASCHINE versions prior to 2.0, Internal Plug-ins were called Modules. 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 ClosedHH Ektl A of the selected Sound slot 2. 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 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 ↑5.2.4, Groove and in chapter ↑8, Audio Routing, Remote Control, and Macro Controls.
Working with Plug-ins Plug-in Overview ▪ Effects: These Plug-ins modify the audio coming from the previous Plug-in slot (or from the incoming audio if the Effect is loaded in the first Plug-in slot of a Sound). Effect Plug-ins can be loaded in any Plug-in slot. Following Plug-ins are available: ◦ Internal Effects: These are the Effect Plug-ins included with MASCHINE.
Working with Plug-ins Plug-in Overview You can also sample directly to a Sound slot. This will automatically load a Sampler in its first Plug-in slot. Read chapter ↑12, Effect Reference for more details on this. 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. 2.
Working with Plug-ins Plug-in Overview 3. → 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. 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 Removing and Replacing a Plug-in Once you have loaded a Plug-in into a Plug-in slot, the slot shows the name of the loaded Plug-in, preceded by an icon describing the type of Plug-in (Instrument or Effect), and followed by a down-pointing arrow: A few Plug-ins loaded. This down-pointing arrow lets you open the Plug-in menu for slots already hosting a Plug-in.
Working with Plug-ins Plug-in Overview → 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. → The original Plug-in is replaced with the newly selected one. The rest of the Plug-in List stays untouched.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Native Instruments submenu Lists available Native Instruments’ Instruments (first Plug-in slot of Sounds only) and Effects. For products working both as Instrument and Effect, the Effect Plug-in name is followed by the mention FX. If necessary each entry is followed by the plug-in type between brackets: (VST) or (AU). See section ↑6.2.6, Page 6: Velocity / Modwheel for more information.
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 when a Allows you to save the current Plug-in settings as a default preset. This deNative Instruments or External fault preset will be recalled each time you load the Plug-in from the Plug-in Plug-in is loaded) menu.
Working with Plug-ins Plug-in Overview 3. 4. 5. If you have selected the first Plug-in slot of a Sound, turn Knob 2 to select the SUBTYPE from Instr. (Instrument) or Effect. If you have selected any other Plug-in slot the SUBTYPE field is not available — only Effect Plug-ins will be listed in the right display. Turn the jog wheel or Knob 5 to browse the Plug-ins corresponding to your TYPE (and possibly SUBTYPE) selection.
Working with Plug-ins Plug-in Overview → The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap. Alternatively, you can press SHIFT + BROWSE, turn the jog wheel (or Knob 5) to select (NONE) at the top of the list in the right display, and press the jog wheel or Button 8 (LOAD). Replacing a Plug-in ► To replace a Plug-in, simply select its slot and load a new Plug-in as described above.
Working with Plug-ins Plug-in Overview To bypass a Plug-in, do the following: 1. 2. 3. 4. If you want to bypass a Plug-in of the Master, click the MASTER tab in the top left corner of the Control area. If you want to bypass a Plug-in of a 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.
Working with Plug-ins Plug-in Overview 4. 5. 6. → If you want to bypass a Plug-in of a Sound, press Button 3 to select the SOUND tab, select its parent Group as described in the previous step, and press SELECT + the pad of that Sound (or simply hit its pad if pads are in Group mode). Press Button 5/6 to select the desired Plug-in slot. The name of the selected Plug-in appears in the field between the left and right arrows under Button 5 and 6.
Working with Plug-ins Plug-in Overview 6.1.7 Moving Plug-ins MASCHINE allows you to move Plug-ins across the Plug-in List and across Sounds and Groups. 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.
Working with Plug-ins Plug-in Overview → The Plug-in with all its parameters has now been moved from its original location to its target location. 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! 6.1.7.1 Moving a Plug-in on the MASCHINE STUDIO Controller On your controller in Control mode, you can move a Plug-in to another slot of the same Sound, Group or the Master.
Working with Plug-ins Plug-in Overview Opening the Plug-in menu. The commands for saving Plug-in presets are found at the bottom of the Plug-in menu. The commands for saving and recalling Plug-in presets in the Plug-in menu. 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.
Working with Plug-ins The Sampler Plug-in Recalling Plug-in Presets All Plug-in presets you saved as described above are available in the Browser, both in the software and from your controller! You will find each Plug-in preset automatically placed in the corresponding “Instrument” or “Effect” category in the File Type selector of the Browser’s LIBRARY pane. Furthermore, user presets will be available when selecting the User content in the Content selector of the Browser’s LIBRARY pane.
Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑7.5, Recording and Editing Modulation and ↑8.2.2, 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↑3.6, 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. 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.
Working with Plug-ins The Sampler Plug-in Parameter Description Pitchbend Here you can adjust how the Sound reacts on incoming MIDI Pitchbend messages from an external MIDI controller or your host application. For more information on how to setup your Sounds to receive MIDI, refer to section ↑8.2.1, Triggering Sounds via MIDI Notes. ENGINE Mode 6.2.2 This allows you to select between different models for the sampling engine.
Working with Plug-ins The Sampler Plug-in 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. This parameter can also be modulated by the Velocity control, see ↑6.2.5, Page 5: LFO. Reverse If Reverse is activated, the Sample will be played backwards. Type Selects from three different types of amplitude envelopes.
Working with Plug-ins The Sampler Plug-in ▪ AHD: AHD mode disables the Sustain and Release controls of the ADSR envelope (see below), and replaces them with the Hold parameter. AHD mode is ideal for “fire and forget” behavior, whereby you would like to have the sound trigger for a certain amount of time regardless of how long you hold the pad down. ▪ ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control.
Working with Plug-ins The Sampler Plug-in Parameter Description Sustain (ADSR only) Sustain determines the constant level being kept after Decay until the note ends. This can also be controlled by an external MIDI controller or keyboard using the MIDI Control Change 64. Release (ADSR only) Release determines how long the sound takes to fade out after the note has ended. 6.2.3 Page 3: FX / Filter Sampler parameters – page 3 of 6: FX and FILTER on the controller.
Working with Plug-ins The Sampler Plug-in Parameter Description FX Comp Basic compressor allowing you to give a Sound more density. Drive Defines the amount of saturation applied to a Sound. 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.
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 on the controller. Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software.
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 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. Speed Controls the rate of the LFO measured in hertz (Hz).
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Drive Drive parameter of the FX section on the FX / Filter page (page 3). Pan Pan parameter on the Audio page of the Sound’s Output properties (see ↑8.1.2, Configuring the Main Output of Sounds and Groups for more information). 6.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller.
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: 6.3.1.1 Opening/Closing Plug-in Windows on the MASCHINE STUDIO Controller On the MASCHINE STUDIO controller, to open/close a floating window for a Native Instruments or External Plug-in do the following: 1. 2.
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 → 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. For all other Plug-ins and Channel properties, parameters and Parameter pages are not editable, and the Pages tab is grayed out and inactive.
Working with Plug-ins Using Native Instruments and External Plug-ins have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its section(s) — if there is more than one section, the page label will mirror all of them, separated by slashes. (4) Focus frame: Indicates the knob being assigned. Click any knob to edit its assignment. (5) Parameter Label fields: Double-click these fields to enter custom labels for your parameters (press [Enter] to confirm).
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 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 When a multiple-output Plug-in is loaded into a Sound, MASCHINE uses its available outputs as follows: ▪ The Plug-in’s first output pair is inserted in the usual Plug-in signal chain: This output pair is fed into the input of the next Plug-in slot (or sent to the channel output if the Plugin is in the last Plug-in slot).
Working with Patterns Pattern Basics 7 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: ↑7.1, Pattern Basics. ▪ How to record Patterns in real time from your controller: ↑7.2, Recording Patterns in Real Time.
Working with Patterns Pattern Basics In every Scene of your Project you can choose for each Group which of its Patterns has to be played. In each Scene the Pattern you have chosen will be referenced by a Clip (more on this in chapter ↑12.6.3, Saturator). 7.1.1 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. The Pattern Editor (Group view depicted).
Working with Patterns Pattern Basics (4) Sound List: Sound slots 1–16 of the selected Group are listed here. In Keyboard view (2), click a Sound slot to display its events in the Event area (7). (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.
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 ↑7.5, Recording and Editing Modulation and ↑8.2, Using MIDI Control and Host Automation for more information.
Working with Patterns Pattern Basics ▪ The Event Edit mode lets you edit the selected events: ↑7.4.4, Editing Selected Events/ Notes. ▪ The Grid mode lets you adjust the Step Grid: ↑7.1.7, 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. 2.
Working with Patterns Pattern Basics 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 ▪ Turn Knob 1 (LENGTH) and 2 (GRID) to adjust the Pattern Length and the Pattern Grid, respectively (see section ↑7.1.6, Adjusting the Pattern Grid and the Pattern Length). ▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑7.7.8, Duplicating, Copying, and Pasting Patterns). ▪ Press Button 8 (DOUBLE) to double the Pattern (see section ↑7.4.8, Doubling a Pattern). 7.1.
Working with Patterns Pattern Basics ▪ Click the left handle (2) of the scroll bar, hold the mouse button, and drag your mouse horizontally to zoom in or out of the Event area while keeping the right border of the display at a fix positioned in the Pattern. ▪ Similarly, click the right handle (3) of the scroll bar, hold the mouse button, and drag your mouse horizontally to zoom in or out of the Event area while keeping the left border of the display at a fixed position in the Pattern.
Working with Patterns Pattern Basics 1. From Control mode, press and hold NAVIGATE to enter Navigate mode. 2. 3. Turn Knob 3 (Pattern Zoom) to zoom in or out of the Edit area. Turn Knob 4 (Pattern Scroll) to scroll through the Edit area. 7.1.3 Following the Playback Position in the Pattern If the Event area doesn’t display the entire Loop Range selected, at some point the playhead will go beyond the portion of the Pattern currently displayed and you might loose sight of the playback position.
Working with Patterns Pattern Basics 7.1.3.1 Following the Playback Position on the MASCHINE STUDIO Controller To follow the playhead position in the Event area during playback: 1. 2. Press ARRANGE to enter Arrange mode. Press Button 3 (FOLLOW). → Both Button 3 and the FOLLOW label underneath light up. In the software the Event area will now switch to the next Pattern portion (with the same zoom factor) as soon as the playhead reaches the end of the portion currently displayed.
Working with Patterns Pattern Basics In the timeline above the Event area, a playhead (the little white vertical line) indicates the current play position in the Pattern. The playhead in the timeline shows you the current play position. At any time you can jump to another position in the Pattern: ► Click anywhere in the timeline of the Event area to move the playhead to that position in the Pattern.
Working with Patterns Pattern Basics Example with playback on: Assuming that your Pattern is four bars long and the Pattern Grid resolution is set to one bar, if you click around the 1.4 mark (4th beat of the 1st bar) in the timeline when the playhead reaches the 3.3 mark (3rd beat of the 3rd bar), the playhead will jump from the 3.3 to the 1.3 mark (3rd beat of the 1st bar) and continue from there. 7.1.4.
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 7.1.6 Adjusting the Pattern Grid and the Pattern Length The Pattern Grid defines regularly spaced-out timings notably used in following situations: ▪ Adjusting the Pattern Length (see below). ▪ Moving the playback position (see ↑7.1.4, Jumping to Another Playback Position in the Pattern and ↑13.1.4, Jumping to Another Playback Position in Your Project). ▪ Adjusting and moving the Loop Range (see ↑13.3.1, Selecting a Loop Range).
Working with Patterns Pattern Basics Adjusting the Pattern Length You can adjust the length of your Patterns to fit your needs. The Pattern Length is measured in bars and beats, and Patterns can be up to 256 bars long. When you create a new empty Pattern (see ↑7.7.3, Creating Patterns), the Pattern has the default length as defined in the Default page of the Preferences panel (see ↑2.5.1, Preferences – General Page).
Working with Patterns Pattern Basics 7.1.6.1 Adjusting the Pattern Grid and Pattern Length on the MASCHINE STUDIO Controller On your controller, the length of the selected Pattern, along with the Pattern Grid resolution used to modify this length, can both be adjusted using various methods: via the Pattern mode, the Pattern Arrange mode, the Grid mode or the Record Prepare mode. Choose the method that best fits your current workflow.
Working with Patterns Pattern Basics 2. Press Button 3 (PATTERN) to access the Pattern Grid settings. The right display will show you which pad represents which resolution: 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 Step Grid also affects the step sequencer on your controller: Increasing the Step Grid resolution (i.e. decreasing the step size) will make more steps available in your Pattern for placing events. See ↑7.4.2, Creating Events/Notes for more information on the step sequencer. In the Pattern Editor, the Step Grid is indicated by the gray vertical lines in the Event area: The vertical lines represent the Step Grid in the Event area.
Working with Patterns Pattern Basics Adjusting the Step Grid The Step Grid resolution can be adjusted via the Step Size menu, showing a value next to the grid icon at the bottom left of the Pattern Editor: 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.
Working with Patterns Pattern Basics ► To adjust the Nudge Grid, right-click ([Ctrl]-click on Mac OS X) 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. 7.1.7.
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 7.2 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 ↑7.2.1, Recording Your Patterns Live.
Working with Patterns Recording Patterns in Real Time Recording a Pattern: press PLAY then REC and hit some pads! 1. 2. 3. 4. Press PLAY to start the sequencer. The PLAY button lights up. Press REC to begin recording. The REC button lights up. 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 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. In order to prevent you from erasing events accidentally, in following situations Replace mode is automatically disengaged (ERASE turns off) and the recording continues in Overdub mode: ▪ When the playback loops (whether at the end of the Loop Range or at the end of your Project).
Working with Patterns Recording Patterns in Real Time You can adjust the default Pattern Length in the Defaults page of the Preferences panel. See section ↑2.5.1, Preferences – General Page for more information. When you get ready to record, you can also use the Record Prepare mode on your controller to quickly create a new Pattern with the desired length and directly start the recording! See section ↑7.2.2, The Record Prepare Mode for more on this. 7.2.
Working with Patterns Recording Patterns in Real Time → 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 ↑7.2, Recording Patterns in Real Time for more information on recording Patterns. In Record Prepare mode can also enable or disable the metronome via Button 2! See section ↑7.2.3, Using the Metronome for more information on the metronome.
Working with Patterns Recording Patterns in Real Time 7.2.3.1 Using the Metronome on the MASCHINE STUDIO Controller On your controller: ► Press METRO in the TRANSPORT section to activate or deactivate the metronome. Adjusting the Metronome’s Volume and Time Signature On your controller you can adjust the volume and time signature of the metronome in the recording settings: 1. Press SHIFT + GRID to show the recording settings. 2. 3. Turn Knob 1 (Metronome LEVEL) to adjust the metronome volume.
Working with Patterns Recording Patterns in Real Time ▪ After the count-in phase, the recording starts in Overdub mode (see ↑7.2.1, 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 ↑7.2.3, 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 7.2.4.1 Using the Count-in on Your Controller On your controller: ► Press SHIFT + REC to start the Count-in and record in Overdub mode. or ► Press SHIFT + ERASE + REC to start the Count-in and record in Replace mode (see section ↑7.2.1, Recording Your Patterns Live for more information on the Replace mode). Adjusting the Count-in Duration You can adjust the duration of the Count-in in the recording settings: 1.
Working with Patterns Recording Patterns in Real Time 7.2.5.1 Using Input Quantize on Your Controller 1. Press SHIFT + GRID to show the record settings. 2. Turn Knob 4 (QUANTIZE MODE) to enable (ON) or disable (OFF) Input Quantization. → With Input Quantization enabled, as you are recording the pads your notes will be quantized according to the step size (i.e. Step Grid resolution) selected. If you turn the Step Grid off, no quantization will be applied. See section ↑7.1.
Working with Patterns Recording Patterns with the Step Sequencer The main difference with the Event Edit mode is that in Step mode each pad of your controller represents one step of a 16-step sequence for the focused Sound. The size of the steps depends on the current Step Grid settings. Lit pads indicate events on the corresponding steps. For more information on the Step Grid, see section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid.
Working with Patterns Recording Patterns with the Step Sequencer Recording a Sequence 1. Set the focus on the Sound you want to record by holding SELECT and pressing the pad of the desired Sound (see section ↑2.3.1, Setting the Focus on a Group or a Sound). You can also hold SHIFT and use Button 7 (UP) and Button 8 (DOWN) to select the previous or next Sound in the Group, respectively. 2. Press PLAY.
Working with Patterns Recording Patterns with the Step Sequencer A typical 4/4 line in Step mode. In Step mode events are created with following settings: ▪ The event pitch is set to the Sound’s base key. To understand how to change the base key of your Sounds, see section ↑5.1.3, Adjusting the Base Key. ▪ The event velocity is defined by how hard you hit the pads, unless you have enabled the Fixed Velocity option (see below).
Working with Patterns Recording Patterns with the Step Sequencer ▪ Individual events/notes are represented by rectangular blocks. These always mirror the steps currently represented by your pads. In both Group and Keyboard mode, velocities are indicated by the event transparency: the more transparent the event, the softer the velocity (in Group mode velocities are additionally indicated under each event in the display).
Working with Patterns Recording Patterns with the Step Sequencer Preparing the Next Events You can adjust the velocity of the next events that you will create by pressing the pads. The velocity of the events you create depends on the state of the Fixed Velocity option: ► Press Button 8 (FIXED VEL) to enable/disable the Fixed Velocity option. ▪ If Fixed Velocity is enabled, all events you create will have the velocity set by turning Knob 4 (FIX VEL).
Working with Patterns Recording Patterns with the Step Sequencer Editing Tool Description Knob 1 (POSITION) Nudges selected events, i.e. shifts selected events on the timeline according to the Nudge Grid (the events’ offsets relative to the Nudge Grid are preserved). Hold SHIFT while you turn the knob to temporarily override the Nudge Grid quantization and adjust the positions in extremely small increments. See section ↑7.1.
Working with Patterns Recording Patterns with the Step Sequencer Use the jog wheel and the FUNCTION buttons underneath for the Quick Edit shortcuts. 1. 2. 3. 4. 5. Press and hold the pad(s) of the step(s) you want to edit. To adjust the events’ velocity, press the FUNCTION buttons until the VOLUME indicator lights up under the jog wheel, and turn the jog wheel. The adjusted value appears on the left display.
Working with Patterns Recording Patterns with the Step Sequencer Alternatively you can use the controls in the EDIT section of your controller to edit the selected events — see section ↑7.4.4, Editing Selected Events/Notes, ↑7.4.5, Deleting Events/Notes, ↑7.4.6, Cut, Copy, and Paste Events/Notes, and ↑7.4.7, Quantizing Events/Notes for more information on the available commands. 7.3.
Working with Patterns Editing Events 7.4 Editing Events Many creation and editing commands on events/notes are available directly via mouse actions in the Event area of the Pattern Editor. They will be applied according to the selected Step Grid resolution (see ↑7.1.7, Adjusting the Step Grid and the Nudge Grid). In Group view, the Sound in focus will change according to the row you click in. Selected notes are highlighted. Events vs.
Working with Patterns Editing Events ► To choose a Mouse Edit mode, click the desired icon in the Edit Mode selector, at the bottom left of the Pattern Editor. You can also right-click ([Ctrl]-click on Mac OS X) in the background of the Event area and select the desired mode from the context menu. (1) Select mode: Provides an exhaustive set of actions for creating, selecting, editing, and deleting events/notes. (2) Paint mode: Provides quick actions for creating, resizing and deleting events/notes.
Working with Patterns Editing Events Action Function Selecting Notes (see ↑7.4.3, Selecting Events/Notes for details) Click unselected note Select note [Shift] + click unselected note Add note to current selection [Shift] + click selected note Remove note from selection Drag in Event area’s background Multiple selection (selection frame) Click in Event area’s background Deselect all notes Editing Selected Notes* (see ↑7.4.
Working with Patterns Editing Events ► Click in the background of the Event area and drag the mouse with the button pressed to set notes wherever you move the cursor. Notes are created only for the Sound in which you started. The other way round: ► 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.
Working with Patterns Editing Events Mouse in Select Mode ► To create a new event in Select mode, double-click at the desired location in the background of the Event area. 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 Selecting Events Click unselected event Select event [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 anywhe
Working with Patterns Editing Events Depending on the current pad mode (Group mode or Keyboard mode, see ↑5.1.1, The Pad View), 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 Selecting events on the controller with the pads in Keyboard mode. ▪ The left display shows an overview of the events in your Pattern for all pitches of the focused Sound. ▪ The right display shows a detailed view of a portion of your Pattern containing events on two octaves. You can adjust the right display as follows: ► Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respectively.
Working with Patterns Editing Events Selection Tool Description Button 5/6 (UP/DOWN) Switch the focus to the previous/next Sound in order to add or remove some of its notes to/from the selection. The name of the selected Sound is indicated under the EVENTS label in the top left corner of the left display. Knob 1/2 (START/END) Define the selection’s start and end points in the timeline for the focused Sound.
Working with Patterns Editing Events Action Function Drag left/right note border Moves the start/end of selected notes according to the Step Grid, thereby resizing the notes (see quantizing rules below). [Ctrl] + drag left/right note border Freely moves the start/end of selected notes (overrides the Step Grid quantization), thereby resizing the notes. (Mac OS X: [Cmd] + drag left/right border) Drag note vertically Group view: Moves selected notes to another Sound of the Group.
Working with Patterns Editing Events Quantization when Editing Multiple Events/Notes at Once When you drag multiple notes (or their duplicates) on the time axis or resize them according to the Step Grid, the various notes in the selection are affected as follows: ▪ The note you click is moved or resized according to the quantizing rule described above. ▪ All other notes in the selection are moved or resized by the same amount (regardless of their own quantizing rules).
Working with Patterns Editing Events Editing Events and Notes via the Event Edit Mode The Event Edit mode provides you with a few essential editing functions. These functions will be applied to the current selection of events. 1. Press ARRANGE to enter Arrange mode. ARRANGE lights up. 2. Press Button 2 (PATTERN) to enter Pattern Arrange mode. Button 2 lights up and PATTERN is highlighted in the left display. 3. Press Button 5 (EVENTS) to enter Event Edit mode.
Working with Patterns Editing Events The Event Edit mode on the controller with pads in Keyboard mode. ▪ The left display shows an overview of the events in your Pattern for all pitches of the focused Sound. ▪ The right display shows a detailed view of a portion of your Pattern containing events on two octaves. You can adjust the right display as follows: ► Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respectively.
Working with Patterns Editing Events Editing Tool Description Knob 1 (POSITION) Nudges selected events, i.e. shifts selected events on the timeline according to the Nudge Grid (the events’ offsets relative to the Nudge Grid are preserved). Hold SHIFT while you turn the knob to temporarily override the Nudge Grid quantization and adjust the positions in extremely small increments. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid for more information on the Nudge Grid.
Working with Patterns Editing Events The Nudge Grid is based on the Step Grid and allows you to define even smaller jumps than the Step Grid divisions to move your events more precisely. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid for more details. ► Hold NUDGE (above the jog wheel) and turn the jog wheel to nudge the selected events to the left or to the right. If nothing is selected, all event/notes in the Pattern will be affected.
Working with Patterns Editing Events Mouse in Paint Mode ► To delete an event, simply click it. Click and hold an event and move the cursor to quickly delete series of 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. 7.4.5.1 Deleting Events/Notes on the MASCHINE STUDIO Controller Your controller provides you with several tools to delete events from the current Pattern.
Working with Patterns Editing Events Deleting the Selected Events Once you have selected particular events (see ↑7.4.3, Selecting Events/Notes for more on this), you can delete them from the Pattern: ► Press CLEAR (in the EDIT section) 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. 7.4.6 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. 2. 3. 4.
Working with Patterns Editing Events ▪ 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. In Keyboard view the events copied from the highest pitch are pasted at the pitch of the row in which the mouse cursor is located.
Working with Patterns Editing Events head position. In Group view the events copied from the topmost Sound in the Sound List are pasted onto the focused Sound, and all copied events retain their position relative to each other, both on the time axis and on the vertical axis (Sound List in Group view, pitches in Keyboard view). 7.4.6.
Working with Patterns Editing Events 7.4.7 Quantizing Events/Notes Quantization is the process of moving events to the closest steps. 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. If you turn the Step Grid off, no quantization will be applied. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid above for more information on the Step Grid and the step size.
Working with Patterns Editing Events You can repeatedly apply half quantization until you are happy; you could for example apply it until the notes are close enough to the Step Grid to sound tight, but loose enough to maintain their basic “feel.” If it is too quantized for you, just press UNDO to undo the last change. 7.4.8 Doubling a Pattern Your controller provides a useful shortcut to double the length and content of the current Pattern.
Working with Patterns Recording and Editing Modulation ▪ Temporary: The modified value is valid only until the end of the Clip: When the Scene is looped or when playback is restarted, the parameter value is reset to its non-modulated value. ▪ Relative (knobs only): For continuous parameters (these parameters are controlled by a rotary knob in the software), the new parameter value is defined as deviation from the actual value. Note that for selectors and buttons, modulation defines instead absolute values.
Working with Patterns Recording and Editing Modulation Example: Let’s assume that you have recorded some modulation for the Cutoff parameter of a Filter Plug-in in order to create a filter sweep. Since modulation is defined relative to the non-modulated value, by manually adjusting the Cutoff parameter you can shift the entire sweep across frequencies. By assigning this Cutoff parameter to a MIDI control or an automation ID (see section ↑8.2.
Working with Patterns Recording and Editing Modulation ◦ Group’s Input properties: the Root Note knob in the MIDI page. At the Sound and Group level the same parameters can be automated and modulated. For more information on automation please refer to section ↑8.2.2, Controlling Parameters via MIDI and Host Automation. Also note that your Macro Controls can be modulated if, and only if, their target parameters can be modulated themselves by design.
Working with Patterns Recording and Editing Modulation ▪ A modulation track is created for this parameter in the Modulation pane of the Control area (at the bottom of the Pattern Editor) containing the modulation points you have just recorded. You can further edit the modulation track from there — see section ↑7.5.3, Creating and Editing Modulation in the Control Lane.
Working with Patterns Recording and Editing Modulation You can pin Auto-write mode by pressing SHIFT + AUTO. This allows you to have both hands free to tweak Knobs 1–8 and record modulation for several parameters simultaneously! When you’re done, press AUTO again to stop recording modulation. If you want to discard the modulation you recorded and try again: ► Hold ERASE and again turn the Knob you used to record modulation to delete all modulation events for this parameter.
Working with Patterns Recording and Editing Modulation 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). The Modulation pane contains following elements: ▪ The left part shows the Modulator List showing all parameters currently modulated in the focused Sound or Group.
Working with Patterns Recording and Editing Modulation The range of the vertical value scale left of the modulation track depends on the current, non-modulated value of the selected parameter: Since modulation points set new values relative to the non-modulated value of the parameter, this scale allows you to see at any time the real values that will be set by the various modulation points in the track. You can adjust the height of the Control Lane by dragging its upper border with the mouse.
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 Mac OS X). 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 2. 3. 4. 5. 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. In the Modulation pane click the “+” symbol at the end of the Modulator List to create a new empty modulation track. A new Modulator X entry appears at the end of the list (X is an ordering number) and it is automatically selected.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE Resetting a Modulation Track ► To reset the modulation track of a parameter, right-click ([Ctrl]-click on Mac OS X) the desired entry in the Modulator List and select Reset Modulator at the top of the menu. → All modulation points are deleted in all Patterns of the Group and you can start designing a new modulation for that parameter from scratch.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE ▪ 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 ↑8.2.4, Sending MIDI from Sounds for more information. ▪ When exporting your Pattern as a MIDI file for use in another environment, MIDI automation tracks will be included in the exported MIDI file.
Working with Patterns Managing Patterns 4. 5. 6. → 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. Right-click ([Ctrl]-click on Mac OS X) this Not assigned entry and select the desired MIDI control from the context menu. Add and modify events in the new MIDI track via same editing tools as for modulation tracks (see ↑7.5.3, Creating and Editing Modulation in the Control Lane).
Working with Patterns Managing Patterns 7.7.1 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. Use the Pattern Manager to manage your Patterns.
Working with Patterns Managing 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). ▪ On the right you can see the various Pattern banks in form of pad grids — a pad grid is a square of 4x4 cells representing the pads of your controller.
Working with Patterns Managing Patterns On the right display, you will see all available Pattern slots in the selected Pattern bank represented as a square of 4x4 cells: ▪ The highlighted cell indicates the selected Pattern slot. ▪ Cells showing a name represent Pattern slots containing a Pattern. ▪ Empty cells represent empty Pattern slots. This grid of cells corresponds to the pads on your controller: ▪ The fully lit pad indicates the selected Pattern slot.
Working with Patterns Managing Patterns 2. 3. → If it is not already selected, 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 the left part of the Pattern Manager displays the Pattern slots in that bank. Select the desired Pattern by clicking its name in the list on the left or by clicking its cell in the selected pad grid on the right.
Working with Patterns Managing Patterns 7.7.2.2 Selecting a Pattern on Your Controller ► To select a Pattern in the current Pattern bank, press PATTERN + the dim lit pad corresponding to the cell of the desired Pattern on the right display. → Selecting a Pattern will: ▪ Display this Pattern in the software’s Pattern Editor. You can then modify it using your controller or the software. ▪ Create a Clip referencing this Pattern for the selected Group in the current Scene.
Working with Patterns Managing Patterns 2. 3. → If it is not already selected, click the desired pad grid on the right to select the Pattern bank where you want to create a Pattern. The selected Pattern bank is surrounded by a white border, and the left part of the Pattern Manager displays the Pattern slots in that bank. Click any empty Pattern slot in the list on the left or click any dark cell in the selected pad grid on the right to create a new empty Pattern there.
Working with Patterns Managing Patterns ▪ The new Pattern is referenced by a Clip for the selected Group in the current Scene. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑12.6.3, Saturator for more on this). 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 record events a new Pattern will be created for them! See section ↑7.4.2, Creating Events/Notes for more information on creating events.
Working with Patterns Managing Patterns 3. On the right of the Pattern slot, click the little cross icon: You can also right-click ([Ctrl]-click on Mac OS X) the Pattern slot or the corresponding cell in the pad grid and select Delete from the context menu: → The Pattern is deleted. If the Pattern was referenced by Clips in the Arranger, these Clips will be removed as well! 7.7.4.1 Deleting Patterns on Your Controller To delete a Pattern on your controller: 1. 2. 3. 4.
Working with Patterns Managing Patterns If the desired Pattern bank is already selected (or if there is only one Pattern bank), this alternate method can be simplified as follows: Press ERASE + PATTERN + pad to delete the corresponding Pattern! If the Pattern was referenced by Clips in the Arranger, these Clips will be removed as well! 7.7.5 Creating and Deleting Pattern Banks You can create and delete Pattern banks in order to organize your Patterns to your liking.
Working with Patterns Managing Patterns 2. Hover the pad grid of the desired Pattern bank with your mouse. A little cross appears at the top right of the pad grid. 3. Click the little cross to delete that Pattern bank. → The Pattern bank is deleted including all its Patterns, if any. The following banks are shifted upwards to fill the gap. If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 7.7.5.
Working with Patterns Managing Patterns Deleting a Pattern Bank To delete a Pattern bank: 1. 2. 3. Press and hold PATTERN to enter Pattern mode. Press Button 7 and 8 to select the desired Pattern bank. Press SHIFT + Button 6 (DELETE) to delete the selected Pattern bank. → The Pattern bank is deleted including all its Patterns, if any. The following banks are shifted upwards to fill the gap.
Working with Patterns Managing Patterns 2. 3. 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. On the right of the Pattern slot, click the little pen icon: You can also right-click ([Ctrl]-click on Mac OS X) the Pattern slot or the corresponding cell in the pad grid and select Rename from the context menu: 4.
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 Mac OS X) 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. 3. → 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.
Working with Patterns Managing Patterns 4. 5. 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. Right-click (on Mac OS X: [Ctrl]-click) the Event area’s background and choose Paste from the context menu to paste the Pattern. If events are selected in the Pattern, the copy/paste operation will apply to these events only! See ↑7.4.4, Editing Selected Events/Notes for more on this. 7.7.8.
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 Importing/Exporting Audio and MIDI to/from 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 exported range will be based on the selected Pattern, regardless of the current Loop Range. Note that the Loop Optimize setting will be respected. ▪ The exported audio will only include the focused Group (in Group view) or the focused Sound (in Keyboard view) — in other words it will include what you see in the Event area. ▪ The audio file will be named as follows: ◦ Export in Group view: [Group name] - [Pattern name] - [BPM].
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 5. While holding the mouse button, drag the icon to start the export. A pop-up message will inform you about the rendering status: As soon as rendering is finished, the mouse cursor displays the name of the Pattern you are dragging.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 2. 3. If you want to export MIDI from the entire Group, switch the Pattern Editor to Group view. If you want instead to export MIDI from the focused Sound only, switch the Pattern Editor to Keyboard view. See section ↑7.1.5, Group View and Keyboard View to know how to do this.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Select Export MIDI… in the context menu (the picture below shows the context menu for a Sound). 4. In the Export MIDI dialog that opens, navigate to the desired location on your computer, type a name for the MIDI file and click Save to confirm. → The MIDI file is exported to the selected location. 7.8.3 Importing MIDI to Patterns You can import MIDI files (extension “.mid”) to Patterns.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Method 1: via the Group’s context menu 1. 2. 3. 4. → In the Group List (left of the Arranger), click the Group in which you want to import the MIDI file. This sets the focus to that Group and displays its Patterns in the Pattern Editor underneath. Select the Pattern in which you want to import the MIDI file. Right-click ([Ctrl]-click on Mac OS X) the Group in the Group List and select Import MIDI… from the context menu.
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 Mac OS X) 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. 2. 3.
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. 2. 3.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. 5. → Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑3.5, Loading and Importing Files from Your File System to know how to use the FILES pane). 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 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. To import multiple MIDI files to a Sound: 1.
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 Audio Routing in MASCHINE 8 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: ↑8.1, Audio Routing in MASCHINE.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. ▪ At the mid-level, each Group has its own channel, which sums all channels of the included Sounds. The output of the Group’s channel is sent to the Master.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Configuring the Audio Routing from Your Controller All the procedures described in the following sections make use of the Channel properties. The Channel properties can also be accessed from your controller. To do this, switch your controller to Control mode and navigate to the desired Channel properties as described in section ↑2.3.3, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area. 8.1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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 ↑2.3.3, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Input properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE If MASCHINE is running as a plug-in, the external stereo inputs Ext. 1–4 available in the Source selector of the MAIN section will correspond to virtual inputs in your host. This allows you to send mixer channels from your DAW to individual Sounds within MASCHINE, for example. Please refer to your host documentation to find out how to route signals to the virtual audio inputs of your MASCHINE plug-in.
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 5. 6. 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. Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above. 8.1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE This default behavior can be customized to your liking: You can adjust the level and panoramic position of the channel output, or send it to the Cue bus for pre-listening. Furthermore, you could send individual Sounds or whole Groups to other pairs of outputs on your audio interface in order to process them separately at a later stage.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Dest. Select where you want to send the main audio output of your channel. For Sounds, the available options are None (no output), Master, Group (parent Group, default setting), any other Group or any other Sound acting as bussing point (i.e. containing an Effect Plug-in in its first Plug-in slot), as well as the 16 external stereo outputs Ext. 1–16.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE ◦ For Groups: [Group name] (e.g., Drums). ◦ For Sounds: [Group name]: [Sound name]-[input number] (e.g., Drums: Kick-1). ▪ In the selector display they are labeled as follows: ◦ For Groups: [Group letter+number] (e.g., A2). ◦ For Sounds: [Group letter+number]:S[Sound number]-[input number] (e.g., A2:S4-1 for the first input of the Sound 4 of Group A2). On your controller the bussing points available in the DEST.
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. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. 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. 8.1.3 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 ↑2.3.3, 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 If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Dest. selectors of the AUX 1 and AUX 2 section will correspond to virtual outputs in your host. This allows you to send auxiliary outputs of individual Sounds or Groups from MASCHINE to their own mixer channels within your DAW, for example.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. 5. 6. Navigate to the channel where you want to configure an auxiliary output: for a Sound click the header of its parent Group (or double-click it if the Mixer currently displays the Group channel strips), and for a Group simply ensure that its channel strip is visible (doubleclick the Group header if the Mixer currently displays the Sound channel strips).
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. 8.1.4 Configuring the Master and Cue Outputs of MASCHINE All channels routed to the Master are mixed together and processed by the Plug-ins loaded in the Master, if any. The result is then sent to the Master output (that is, MASCHINE’s main output).
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The AUDIO page of the Output properties for the Master on the controller. Please refer to section ↑2.3.3, 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 Output Select where you want to send the master output of your MASCHINE Project.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Output selector of the MAIN and CUE sections will correspond to virtual outputs in your host. Configuring the Master and Cue Outputs in Mix View You can also easily configure the Master and Cue outputs of MASCHINE in the Mixer. Both share the same channel strip at the far right of the Mixer.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. 3. 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). 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. 3. This is equivalent to setting the Level or Pan parameters in the CUE section, respectively (see above).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 8.2 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 ↑8.2.4, Sending MIDI from Sounds. 8.2.1 Triggering Sounds via MIDI Notes MASCHINE lets you play your Sound(s) via MIDI notes (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, and one of its Sound to react to incoming notes on MIDI channel 2, this Sound will react to one incoming note on MIDI channel 1 and all incoming notes on channel 2 (according to the two rules described above).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Please refer to section ↑2.3.3, 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 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 ↑7.8.3, 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 the MIDI input from the host. 5. This is equivalent to enabling the Active button described above. Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above. For more information on how to trigger MASCHINE 2 sounds via MIDI Notes in a host Sequencer refer to this Knowledge Base Article: http://www.native-instruments.com/knowledge/questions/1780/ 8.2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Configuring MIDI and host automation is possible in the software only. In MASCHINE, automation means the control of MASCHINE parameters from an external source (MIDI or host application). Value changes are: ▪ Permanent: The new parameter value stays valid until a new value is defined (via MIDI/ host or manually), even when the playback is looped or restarted.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The Automation pane of the Assignment area. 1. Click the down-pointing arrow in the bottom left corner of the Control area to reveal the Assignment area underneath: 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.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ Host tab: Click the Host tab to assign automation IDs to automatable parameters if MASCHINE is running as a plug-in. You can then remote control and automate MASCHINE parameters from your host application. Under each automatable parameter of the current Parameter page, the Automation pane shows an Assignment field showing the current assignment for this parameter, if any.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g., you cannot automate the Pattern Length or the color of a Scene). In the software in Mix view, this means that all automatable parameters are found in some Parameter page of the Control area.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Assigning Host Automation IDs to Parameters (MASCHINE as Plug-in) 1. Click the down-pointing arrow in the bottom left corner of the Control area to open the Assignment area underneath. 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.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation → The Assignment field displays the automation ID for that parameter. The parameter is ready to be controlled from your host. Removing an automation ID is also straightforward: ► Click the non-empty Assignment field under any assigned parameter to remove the automation ID currently assigned to that parameter.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. 3. On the left of the area, click the Automation tab to show the Automation pane, then in this pane click the MIDI tab. In this tab, the Assignment fields for automatable parameters read Learn. Click Learn in the Assignment field of a parameter to enter Learn mode for that parameter. In the Assignment field Learning will blink. 4. Move the desired control element (knob, button, etc.) on your MIDI controller.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation If there is already a MIDI assignment for the parameter, the new MIDI assignment will replace the previous one. If you change your mind and don’t want to assign any new MIDI control, while Learn is blinking click the Assignment field again or press [Esc] on your computer keyboard.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation For example, in MASSIVE, ABSYNTH 5, and FM8, you need to enable the Program List and fill it with the desired patches in order to make them available to MASCHINE and be able to switch between them via MIDI Program Change messages.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Output properties for a Sound in the software. The MIDI page of the Output properties for a Sound on the controller. Please refer to section ↑2.3.3, 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.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description MIDI Section Dest. Select the MIDI port on which the Sound will send MIDI data. If MASCHINE is running in stand-alone mode, available entries are None (MIDI output disabled, default setting), every enabled MIDI output port, as well as any Sound in the same Group containing a Plug-in that can receive MIDI (multitimbral Plug-in).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 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.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 5. 6. At the bottom of the channel strip of the Sound you want to configure, click the bigger field left and select the desired MIDI port in the menu. This is equivalent to setting the Dest. parameter described above. Click the little field on its right to select a MIDI channel. This is equivalent to the Channel parameter described above. 8.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls MASCHINE 1.x owners: In MASCHINE 1.x Macro Controls were additionally used to automate MASCHINE parameters via MIDI or host automation. This is not the case in MASCHINE 2.0 anymore: automation and Macro Controls now are totally independent. Now MASCHINE parameters can be directly assigned to MIDI controls or host automation IDs (as described in section ↑8.1.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls A Macro Control of a channel can control any parameter located in the properties or Plug-ins of that channel or of any underlying channel. In other words: ▪ For Sounds: You can assign the Macro Controls of a Sound to any parameters in its properties or Plug-ins.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Opening the Pages Pane in the Assignment Area First of all, you need to open the Pages pane of the Assignment area for Macro properties. To do this: 1. 2. Select the Macro properties of the desired channel (Sound, Group, or Master) as described in section ↑2.3.3, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control area with Macro Properties displayed and the Pages pane active in the Assignment area underneath. (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parameter page. (2) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new page. By default, pages are labeled “Page 1,” “Page 2,” etc.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls (6) Parameter Label fields: Double-click these fields to enter custom labels for your parameters (press [Enter] to confirm). These labels will be mirrored everywhere in MASCHINE for the corresponding parameters. (7) Reset button: Click Reset to remove the Macro Control assignment for the selected knob.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls ► To modify a particular item in the selection displayed by the Target selector, click it and select another item for that level. → Items to the left of the selected item (i.e. at a higher level) stay untouched, while items on its right (i.e. at a lower level) are reset.
Controlling Your Mix Mix View Basics 9 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. 9.1.1.1 ► Switching between Arrange View and Mix View on the MASCHINE STUDIO Controller Press SHIFT + NAVIGATE to switch between the Arrange view and the Mix view in the MASCHINE software. 9.1.
Controlling Your Mix Mix View Basics 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 focus on any channel, etc.
Controlling Your Mix The Mixer 9.2 The Mixer Sitting in the top part of the Mix view, the Mixer is ideal for quickly seeing and adjusting 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. The particular channel strips displayed along with their layout depend on the following: ▪ Which of the Sound or Group level is selected for display: ↑9.2.
Controlling Your Mix The Mixer 9.2.1 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. ▪ Sound level: The Mixer shows channel strips for all Sound slots in the focused Group. Both display modes are described in the following paragraphs.
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 ► To switch the Mixer display between all Groups of your Project and all Sound slots in a particular Group, double-click the background of any Group header at the top of 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.
Controlling Your Mix The Mixer A channel strip in the minimized Mixer. Showing/Hiding Particular Sections of the Strips 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 displayed. Use the three buttons on the left of the Mixer, to do this: Choosing what to display in the channels.
Controlling Your Mix The Mixer ▪ To set the focus to a particular channel (Sound or Group), click the background of its header in the top two rows of the Mixer (upper row for Groups and the Master/Cue, lower row for Sounds, if visible) or use the usual commands on your controller (see section ↑2.3.1, Setting the Focus on a Group or a Sound). The header of the focused channel is highlighted.
Controlling Your Mix The Mixer ► To open the channel’s context menu, right-click ([Ctrl]-click on Mac OS X) the background of the channel header: Opening the context menu of a channel automatically sets the focus on that channel. The channel’s context menu provides the exact same entries as in Arrange view.
Controlling Your Mix The Mixer Management Command Action Deleting Group channels Open the Group channel’s context menu and select Delete. See section ↑4.3.8, Deleting Groups. Saving channels Open the channel’s context menu and select Save As…. See section ↑4.2.5, Saving Sounds and ↑4.3.5, Saving Groups. You cannot move Sounds and Groups via drag and drop in the Mixer. This is only possible in the Arrange view — see section ↑4.2.7, Moving Sounds and ↑4.3.7, Moving Groups for details. 9.2.
Controlling Your Mix The Mixer In particular, at the Sound level this allows you to quickly check the level and adjust the settings of the parent Group without having to switch the Mixer display to the Group level. For example, if a kick drum is too loud in a drum kit, while decreasing its level you can check at the far right how your change affects the overall Group level — and you can quickly adjust this Group level if needed.
Controlling Your Mix The Mixer (1) Header: Displays the name and index (letter + number) of the Group or number of the Sound. Headers in the Mixer’s top row are for Groups, headers in the second row (Sound level only) are for Sounds. If the rest of a channel strip currently isn't visible, its header additionally shows a mini level indicator in its top right corner. Following actions are available: ▪ Switch the Mixer display between Sounds and Groups (see section ↑9.2.1, Displaying Groups vs.
Controlling Your Mix The Mixer ▪ Click the little square left of a Plug-in to bypass it (the bypassed Plug-in is grayed out) or to re-insert it in the signal chain. ▪ Drag and drop Plug-ins to move them across the list. 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.
Controlling Your Mix The Mixer pre/post tapping point by clicking the Post or Pre label. These controls are equivalent to the Dest., Level, and Order parameters on the Aux page of the Sound’s and Group’s Output properties, respectively (see ↑8.1.3, Setting Up Auxiliary Outputs for Sounds and Groups). (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.
Controlling Your Mix The Mixer from the Browser (or create one from scratch), add any Plug-ins, adjust any parameters in that channel, record Patterns for that Group as you see fit, and when you are ready, insert it back into your performance! The Cue bus is also used for following features: ▪ Pre-listening to Samples in the Browser (see section ↑3.3.2, Pre-Listening to Your Samples). ▪ Metronome (see section ↑7.2.3, Using the Metronome).
Controlling Your Mix The Plug-in Chain 1. Click the header of the Master/Cue strip in the top right corner of the Mixer. 2. If the Mixer was showing Sound channels, it switches to the Group level. The Master/Cue channel strip appears and is put under focus. 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.
Controlling Your Mix The Plug-in Strip Except for its horizontal layout, the Plug-in Chain has the same functionality as the Plug-in List found in the channel strips of the Mixer above — namely to organize the Plug-ins of that channel: ▪ Click a Plug-in name to select it. If this Plug-in is currently hidden in the Plug-in Strip underneath, the Plug-in Strip automatically scrolls to show the interface of that Plug-in.
Controlling Your Mix The Plug-in Strip The Plug-in Strip of a channel, with a distinct interface for each Plug-in. In the Plug-in Strip the Plug-in panels vary with the type of Plug-in (Internal, Native Instruments, or External): ▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑9.4.1, The Plug-in Header. ▪ Internal Effects and Drumsynths have their own custom panels: ↑9.4.2, Panels for Drumsynths and Internal Effects. ▪ The Sampler Plug-in has a special, extended panel: ↑9.4.
Controlling Your Mix The Plug-in Strip Click a Plug-in in the Plug-in Chain to display its panel in the Plug-in Strip below. If the MASCHINE window is not wide enough for all Plug-in panels to be displayed at once, a horizontal scroll bar appears at the bottom of the Plug-in Strip to display the hidden part. Use the horizontal scroll bar to display the other Plug-in panels.
Controlling Your Mix The Plug-in Strip Use the vertical scroll bar to display the rest of the Plug-in. 9.4.
Controlling Your Mix The Plug-in Strip 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 ↑9.4.4, Custom Panels for Native Instruments Plug-ins for more on this.
Controlling Your Mix The Plug-in Strip 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 ↑9.4.1, The Plug-in Header above for more details.
Controlling Your Mix The Plug-in Strip 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 ↑7.5, Recording and Editing Modulation for more on modulating parameters. 9.4.
Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane 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 ↑14, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip (4) VOICE & ENGINE section: Allows you to adjust the Polyphony, Glide, and Mode parameter from the Voice Settings / Engine page in the Control area, and the Reverse button from the Pitch/Envelope page in the Control area. For more details, see section ↑6.2.1, Page 1: Voice Settings / Engine and ↑6.2.1, Page 1: Voice Settings / Engine, respectively. (5) TUNE section: Allows you to adjust the Tune parameter from the Pitch/Envelope page in the Control area.
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) Zone List: Allows you to manage your Zones. This is the same as the Zone List available in the Zone page of the Sample Editor. For more details, see section ↑14, Sampling and Sample Mapping. (3) Sample Map: Allows you to adjust the key and velocity ranges of your Zones.
Controlling Your Mix The Plug-in Strip (4) TUNE / MIX and MAP sections: Allow you to adjust the tuning and gain parameters as well as the key and velocity ranges of your Zones. These are the same as the TUNE and MAP sections from the Zone page of the Sample Editor. For more details, see section ↑14.5.7, Adjusting the Zone Settings. As with all Internal Plug-ins, parameter modulation is not indicated in the panel for the Sampler.
Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of ABSYNTH 5: MASCHINE STUDIO - Manual - 424
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 STUDIO - Manual - 425
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 ↑9.4.1, 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. Mac OS X 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 generic Plug-in panel for an External Plug-in. The Plug-in panel shows following elements: (1) Plug-in Header: See section ↑9.4.1, The Plug-in Header above for more information. (2) Plug-in name. (3) Preset menu: Click this menu to select a preset from those available for your VST/AU plugin. Each VST/AU plug-in might handle its presets (or patches, programs…) differently. See section ↑6.3.4, Using VST/AU Plug-in Presets for more information on this.
Controlling Your Mix The Plug-in Strip ► To undock a Native Instruments or External Plug-in and open it in its dedicated floating window, click the little diagonal arrow on the left of the Plug-in Header. → 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).
Controlling Your Mix The Plug-in Strip ▪ In the Plug-in Strip the Plug-in panel is replaced with a thin vertical Plug-in placeholder containing only the little diagonal arrow — this allows you to dock the Plug-in back into the Plug-in Strip (see below). ▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s elements described in section ↑9.4.
Controlling Your Mix Controlling Your Mix from Your Controller 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. The Plug-in will be inserted back into the Plug-in Strip. 9.5 Controlling Your Mix from Your Controller Your MASCHINE STUDIO controller provides a dedicated Mix mode.
Controlling Your Mix Controlling Your Mix from Your Controller At both levels channels are organized into groups of eight channels (four on each display). ► Use the Page buttons at the left of the displays to show the next/previous eight channels (Sounds: 1–8 and 9–16; Groups: A1–H1, A2–H2, etc.). Setting the Focus on a Channel (Sound or Group) ► To put the focus on any of the displayed channels (Sounds or Groups), press Button 1–8 above the desired strip in the displays.
Controlling Your Mix Controlling Your Mix from Your Controller When the Mix mode shows Group channels, the level indicator in the Master section of your controller (at the right of the displays) shows by default the Master or Cue channel (MST or CUE button lit) and you can directly adjust the Master or Cue level via the knob underneath. Mix Mode – Displaying the Sound Level ► To display the Sound channels of the focused Group, press ENTER below the jog wheel or press the jog wheel itself.
Controlling Your Mix Controlling Your Mix from Your Controller 9.5.2 Adjusting the Level and Pan in Mix Mode The Mix mode allows you to quickly adjust the level and panoramic position of each of your channels via Knobs 1–8. To do this: 1. 2. 3. 4. 5. If you want to adjust the level and panoramic position of Groups, switch to the Group view by pressing BACK below the jog wheel.
Controlling Your Mix Controlling Your Mix from Your Controller Even if the displays don’t switch to Mute or Solo mode, the usual procedures to mute and solo Groups and Sounds stay valid in Mix mode. For more information on the Mute and Solo functions, please refer to section 5.2.2. 9.5.
Using the Drumsynths 10 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 10.1 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 10.1.3 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 In the MASCHINE convention the MIDI note 60 is noted C3. The engines have different pitch ranges: ▪ Most engines have limited pitch ranges: For example, in the Snare, the Chrome engine can play pitches from MIDI note 60 to 84, while the Iron engine can play pitches from MIDI note 46 to 70. If the pitch of an incoming MIDI note falls outside the pitch range of the engine, the pitch will be bounded to that engine’s allowable pitch range.
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): ↑10.2.1, Kick – Sub. ▪ Tronic: ↑10.2.2, Kick – Tronic. ▪ Dusty: ↑10.2.3, Kick – Dusty. ▪ Rasper: ↑10.2.4, Kick – Rasper. ▪ Snappy: ↑10.2.5, Kick – Snappy.
Using the Drumsynths The Kicks ▪ Bold: ↑10.2.6, Kick – Bold. ▪ Maple: ↑10.2.7, Kick – Maple. ▪ Push: ↑10.2.8, Kick – Push. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.2.1 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 Element Description SCALE Section Velocity 10.2.2 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). 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 Kicks Element Description Bend Adjusts the amount of pitch envelope applied throughout the sound duration, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 6.8 %). Low values give a more gentle sound. As Bend is increased, the kick becomes more punchy; at higher values, the pitch envelope is more clearly audible as an actual pitch bend. Impact Adjusts the amount of attack. Available values range from 0.0 % (soft attack) to 100 % (maximum attack).
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 10.2.3 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).
Using the Drumsynths The Kicks Element Description Impact Adjusts the amount of attack and click, measured as a percentage. Available values range from 0.0 % (soft attack) to 100.0 % (maximum attack). The default value is 75.0 %. CHARACTER Section Filter Adjusts the timbre of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 40.0 %). Increase the value to produce richer high frequencies. Noise Adjusts the amount of noise, measured as a percentage.
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 ↑9.4, 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 ↑10.2, 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 10.2.5 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 Snap Emulates the air movement caused by the beater before the drum is hit. Therefore, it produces a snap in the waveform the length of which can be controlled through this parameter. 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 Kicks 10.2.6 Kick – Bold The Bold kick is an acoustic bass drum emulation that provides an aggressive character and a punchy and dirty sound. It is capable of a range of sounds, from rock-like kicks to more snappy and tight sub-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 ↑9.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Kicks Element Description SCALE Section Velocity 10.2.7 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 Kicks Element Description 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 %. ROOM Section Mode Selects from two different noise types that simulate the room in which the drum is played. Available modes are A (default) and B. Size Adjusts the size of the room, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
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 ↑9.4, 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 ↑10.2, The Kicks.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 10.3 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): ↑10.3.1, Snare – Volt. ▪ Bit: ↑10.3.2, Snare – Bit. ▪ Pow: ↑10.3.3, Snare – Pow. ▪ Sharp: ↑10.3.4, Snare – Sharp. ▪ Airy: ↑10.3.5, Snare – Airy.
Using the Drumsynths The Snares ▪ Vintage: ↑10.3.6, Snare – Vintage. ▪ Chrome: ↑10.3.7, Snare – Chrome. ▪ Iron: ↑10.3.8, Snare – Iron. ▪ Clap: ↑10.3.9, Snare – Clap. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.3.1 Snare – Volt The Volt engine is the default engine of the Snare.
Using the Drumsynths The Snares Element Description 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. If you select Punchy, the engine uses one oscillator with a pitch envelope. Osc Mix Only available if Tonal is selected in the Osc Mode selector (see above). Adjusts the mix between both oscillators, measured as a percentage.
Using the Drumsynths The Snares 10.3.2 Snare – Bit The Bit snare is a thin, harsh, digital snare. 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 ↑9.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Snare Plug-in. If you change this setting, please refer to ↑10.2.8, Kick – Push.
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 10.3.3 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).
Using the Drumsynths The Snares 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 %). Focus Adjusts the attack of the sound as well as the speed and shape of the pitch envelope, to produce a different quality of attack and sharpness. Available values range from 0.0 to 100 % (default: 50.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Snares Main Page Element Description MAIN Section Engine Selects the engine used in the Snare Plug-in. If you change this setting, please refer to ↑10.2.8, Kick – Push. 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 ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 10.3.5 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, measured as a percentage. Available values range from 0.0 % (softest) to 100 % (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 10.3.6 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, measured as a percentage. 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 10.3.7 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 Advanced Page The Advanced page contains parameters controlling the wires’ sound of the drum. Element Description SPECTRA Section Mode Selects from two different noise types that simulate the snare wires of the drum. Available modes are A (default) and B. Tune Provides an independent tuning of the snare noise. It relates to the snare wire tension of a real snare drum. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Snares 10.3.8 Snare – Iron The Iron snare is an acoustic snare drum model that is capable of a metallic, bright sound. The two modes available on its Advanced page select from two different snare wire characteristics. 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 ↑9.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Snares Element Description SPECTRA Section Mode Selects from two different noise types that simulate the snare wires of the drum. Available modes are A (default) and B. Decay Controls the length of the snare wires’ sound independently from the main Decay parameter on the Main page. Available values range from 0.0 to 100.0 % (default: 40.0 %). Amount Adjusts the amount of snare wire sound applied to the drum, measured as a percentage. Available values range from 0.0 to 100.
Using the Drumsynths The Snares Main Page Element Description MAIN Section Engine Selects the engine used in the Snare Plug-in. If you change this setting, please refer to ↑10.2.8, Kick – Push. 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 ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Hi-hats Element Description SCALE Section Velocity 10.4 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). 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 Hi-hats The Hi-hat 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 Hi-hat provides following engines: ▪ Silver (default): ↑10.4.1, Hi-hat – Silver. ▪ Circuit: ↑10.4.2, Hi-hat – Circuit. ▪ Memory: ↑10.4.3, Hi-hat – Memory.
Using the Drumsynths The Hi-hats For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.4.1 Hi-hat – Silver The Silver engine is the default engine of the Hi-hat. A classic analog hi-hat that can also be used as percussion or sound effect. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Hi-hats Element Description Color Adjusts the center frequency of the filter applied to the sound, measured in hertz. Available values range from 932.3 Hz to 16.7 kHz (default: 7.4 kHz). The default position gives a standard metallic analog hi-hat. Colored down, the sound is much more melodic and in the midrange, good for percussion or effects. In a way this parameter is a more effective tuning control than the Tune parameter itself.
Using the Drumsynths The Hi-hats 10.4.2 Hi-hat – Circuit Similar to the Silver hi-hat, the Circuit hi-hat uses a more complex oscillator for a more digital, robotic 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 ↑9.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Hi-hats Element Description Saturate Adjusts the amount of analog-style saturation applied to the sound for increased thickness, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 19.0 %). 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.
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 ↑9.4, 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 ↑10.3.8, Snare – Iron.
Using the Drumsynths The Hi-hats Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 10.4.4 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 Toms The Tom in the Control area (Main page depicted). 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.
Using the Drumsynths The Toms ▪ Tronic (default): ↑10.5.1, Tom – Tronic. ▪ Fractal: ↑10.5.2, Tom – Fractal. ▪ Floor: ↑10.5.3, Tom – Floor. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.5.1 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.
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 Element Description SCALE Section Velocity 10.5.2 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). 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 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 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 10.5.3 Tom – Floor The Floor Tom is an acoustic tom that provides the emulation of a complete set of toms. Although it is more suitable for floor and low toms, it is also capable of producing interesting mid and high toms. Furthermore the control over the pitch bend and the mute parameters allow for a wide range of sounds. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Percussions Element Description Skin Adjusts the amount of damping applied to the drum skin, measured as a percentage. Available values range from 0.0 % (default) to 100.0 %. Air Adjusts the amount of damping applied to the air, 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 Percussions 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. The Percussion provides following engines: ▪ Fractal (default): ↑10.6.1, Percussion – Fractal. ▪ Kettle: ↑10.6.2, Percussion – Kettle. ▪ Shaker: ↑10.6.3, Percussion – Shaker.
Using the Drumsynths The Percussions For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.6.1 Percussion – Fractal The Fractal engine is the default engine of the Percussion. The Fractal percussion mode is based on the feedback oscillator bank from the Fractal tom (see ↑10.5.2, Tom – Fractal).
Using the Drumsynths The Percussions Element Description Glide Adjusts the glide between the pitch of new notes, measured in milliseconds. When the Glide parameter is set higher than zero, the pitch glides smoothly to the new tuning. The Glide parameter then defines the duration this glide takes. Available values range from None (no glide, default) to 762.8 ms. 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 Percussions Element Description FM Adjusts the amount of frequency modulation within the feedback oscillator bank, measured as a percentage. Frequency modulation tends to add bell-like, ringing overtones. Available values range from 0.0 to 100.0 % (default: 34.4 %). AM Adjusts the amount of amplitude modulation within the feedback oscillator bank, measured as a percentage. Amplitude modulation tends to add brash, bright overtones. Available values range from 0.0 to 100.
Using the Drumsynths The Percussions Main Page Element Description MAIN Section Engine Selects the engine used in the Percussion Plug-in. If you change this setting, please refer to ↑10.5.3, Tom – Floor. 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 ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Percussions Element Description SCALE Section Velocity 10.6.3 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 Percussions Element Description ENVELOPE Section Mode Selects from two envelope modes: Realistic (default) and Machine. In Realistic mode the envelope uses curved attack and release stages for a more natural sound. In Machine mode the envelope uses linear attack, hold, and release stages for a static, machine-like sound. Attack Adjusts the duration of the envelope’s attack stage, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 40.0 %).
Using Effects Applying Effects to a Sound, a Group or the Master 11 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: 2. In the Plug-in List each Plug-in has its own slot. 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 3. → If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows all available Instrument Plug-ins. 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. 2.
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 3. 4. 5. 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. If the desired Group is in another bank, before you select the Group you first need to press SHIFT + the corresponding Group button A–H to select the Group bank.
Using Effects Applying Effects to a Sound, a Group or the Master 11. Leave the Plug-in Browser and switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT + BROWSE again). → The effect is loaded in the selected Plug-in slot and it is automatically displayed on your controller. Now you can edit the effect parameters using Knobs 1–8 and the Page buttons — see section ↑2.3.3, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area for more information.
Using Effects Applying Effects to a Sound, a Group or the Master ▪ If you created a nice effect setting, you can put it to further use by saving it as a Plug-in preset in the software. Please read ↑6.1.9, Saving and Recalling Plug-in Presets for more details. 11.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Save the current effect settings as preset Open the Plug-in menu, and select Save As… at the bottom of the menu. Recall an effect preset Use the Browser (see chapter ↑3, Browser), or open the Plug-in menu and select Open… at the bottom of the menu.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Recall an effect preset Use the Browser (press BROWSE) to access and load any effect preset. See section ↑3.2, Searching and Loading Files from the Library for more on this. Native Instruments and External Effects Open/close the effect window Press SHIFT + Button 3 (EDIT). You will find more details on Plug-in operation in section ↑6.1, Plug-in Overview.
Using Effects Applying Effects to a Sound, a Group or the Master When you load any of these Plug-ins in a Sound or a Group, a Side-Chain Input Parameter page appears at the end of the page list. Side-chaining is not possible at the Master level (i.e. if the Plug-in is loaded in a Plug-in slot of the Master). The Side-Chain Input page of the Compressor Plug-in in the Control area. The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑2.3.
Using Effects Applying Effects to External Audio 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.
Using Effects Applying Effects to External Audio To do this, we will choose a Sound and make use of the Audio page in its Input properties. 11.2.1 Step 1: Configure MASCHINE Audio Inputs MASCHINE’s audio input configuration can be done in the software only. Furthermore, this configuration is necessary only if you use MASCHINE as stand-alone application. If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from your host on any of its four stereo virtual inputs.
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. In this example, we will assume that you plugged a stereo source (e.g., the output of your DJ mixer) into the first input pair of your audio interface, and that you have assigned this input pair to the first virtual input pair In 1 L / In 1 R of MASCHINE in the Audio and MIDI Settings panel. See ↑2.
Using Effects Applying Effects to External Audio 11.2.2 Step 2: Set Up a Sound to Receive the External Input We describe here the procedure in Arrange view. You can also do this in Mix view — see section ↑8.1.1, Sending External Audio to Sounds. → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal via the Gain knob. You will find a detailed reference of the Audio page of the Sounds’ Input properties in section ↑8.1.1, Sending External Audio to Sounds. 11.2.
Using Effects Applying Effects to External Audio Press either of the IN1–IN4 buttons to select an external input to be routed to the selected Sound. Here the first stereo pair is selected. The Master section additionally provides you with very useful features: ▪ Upon your selection the level meter lights up blue and indicates the level of the selected input pair — and will indicate it until you press another input/output button in the Master section.
Using Effects Applying Effects to External Audio 2. 3. → Press NAVIGATE + pad 1 to select the Audio Parameter page. You can also press the Page Left button until it turns off, since the Audio page is the first page of the Input properties. You will now see two parameters at the bottom of the left display: SOURCE (which selects the source) and GAIN (which adjusts the level of the input). Turn Knob 1 to set the SOURCE to Ext. 1.
Using Effects Applying Effects to External Audio 11.2.3.1 Loading an Effect to Process an Input on the MASCHINE STUDIO Controller 1. 2. 3. 4. Press the PLUG-IN button to show the Plug-in slots of the selected Sound. Since we have selected an empty Sound, you see EMPTY on the left of the left display as well as under Button 5/6 on the right display (i.e. there is no Plug-ins to navigate yet). Press SHIFT + BROWSE to open the Plug-in Browser and browse the available Instrument and Effect Plug-ins.
Using Effects Creating a Send Effect ▪ Step 1: Set up a Sound or Group as send effect. This is done by loading an effect into its first Plug-in slot: ↑11.3.1, Step 1: Set Up a Sound or Group as Send Effect. ▪ Step 2: Route a portion of the desired audio signals from their original Sounds and Groups to that send effect. This is done via the Output properties of the corresponding Sounds and Groups: ↑11.3.2, Step 2: Route Audio to the Send Effect. 11.3.
Using Effects Creating a Send Effect 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. 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.
Using Effects Creating a Send Effect → The Sound slot now mirrors the Plug-in name. For more information on renaming Sound slots, see section ↑4.2.3, Renaming Sound Slots. 11.3.1.1 Set Up a Sound as Send Effect on the MASCHINE STUDIO Controller 1. 2. 3. 4. 5. 6. Press the PLUG-IN button to enter Control mode and show the Plug-in slots. Press Button 3 to select the SOUND tab Press the Group button A–H of the Group containing the empty Sound you want to use.
Using Effects Creating a Send Effect 7. Turn Knob 2 to set SUBTYPE to Effect. The right display shows only Effect Plug-ins of the type you have selected. 8. 9. Turn the jog wheel or Knob 5 to browse the available Plug-ins. When you have found the effect you want to use (e.g., the MASCHINE Compressor), press the jog wheel or Button 8 to load it. You can also use Button 5/6 to step through the list and load each effect directly. 10.
Using Effects Creating a Send Effect → The Sound slot now mirrors the Plug-in name. For more information on renaming Sound slots, see section ↑4.2.3, Renaming Sound Slots. 11.3.2 Step 2: Route Audio to the Send Effect Once you have configured a Sound or Group as send effect (see ↑11.3.1, Step 1: Set Up a Sound or Group as Send Effect above), you can send the output of any other Sounds and Groups to that Sound or Group.
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 NAVIGATE + pad 2 to select the Aux page of parameters. You can also use the Page buttons for this. 6. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect.
Using Effects Creating a Send Effect letter 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 ↑8.1.
Using Effects Creating Multieffects 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 Multieffects ▪ 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 Multieffects 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 multieffect Groups tagged Multi FX: Groups of the Multi FX type in the LIBRARY pane.
Effect Reference 12 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 12.1 Dynamics 12.1.1 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 knee-dependent 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. 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.
Effect Reference Dynamics 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.
Effect Reference Dynamics ▪ An additional GR level meter indicates the gain reduction currently applied by the Compressor to the input signal. 12.1.2 Gate The Gate cuts any part of the input signal which falls below the input threshold. This can be used to rhythmically chop the signal and make it stutter or sound staccato. 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). The Gate panel in the Plug-in Strip.
Effect Reference Dynamics Parameter Description TIME Section Attack Use Attack to adjust how fast the Gate reacts to the incoming signal: the more you dial it to the right, the slower it will react, resulting in a softer transition between the gated and the not gated parts of the signal. Hold The Hold parameter is used to determine how long the gated signal is held; lower values will result in a more "choppy" effect.
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 The Gate on the controller: SIDE-CHAIN INPUT page. 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.
Effect Reference Dynamics The Transient Master panel in the Plug-in Strip. 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. 12.1.4 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 (or processing delay, see chapter ↑17, Glossary for a definition).
Effect Reference Dynamics Main Page The Limiter in the Control area: Main page. Parameter Description DEPTH Section 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. The Limiter on the controller: MAIN page. Side-Chain Input Page The Limiter 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 The Limiter on the controller: SIDE-CHAIN INPUT page. 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 The Maximizer panel in the Plug-in Strip. Main Page The Maximizer in the Control area: Main page. 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.
Effect Reference Dynamics The Maximizer on the controller: MAIN page. Side-Chain Input Page The Maximizer in the Control area: Side-Chain Input page. 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.
Effect Reference Dynamics 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.
Effect Reference Filtering Effects 12.2 Filtering Effects 12.2.1 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 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. Ranges from 40 Hz to 16 kHz.
Effect Reference Filtering Effects 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. The EQ on the controller: WIDTH / OUTPUT page.
Effect Reference Filtering Effects 12.2.2 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. 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.
Effect Reference Filtering Effects 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.
Effect Reference Modulation Effects 12.3 Modulation Effects 12.3.1 Chorus The Chorus is useful to “thicken” signals and enhance or add stereo content. It is most effective on melodic sounds, but can also be used on hi-hats to make them more vivid or on a voice sample to create a doubling effect (thereby making it sound as if there were several voices). It works by splitting the audio signal up into two versions and slightly detuning one of them. The Chorus panel in the Plug-in Strip.
Effect Reference Modulation Effects Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Chorus on the controller. 12.3.2 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.
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. 12.3.3 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. 12.3.5 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 12.4 Spatial and Reverb Effects 12.4.1 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. The Ice in the Control area.
Effect Reference Spatial and Reverb Effects Parameter Description 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. 12.4.2 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.
Effect Reference Spatial and Reverb Effects 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. High High band EQ to cut or boost high frequencies. POSITION Section 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.
Effect Reference Spatial and Reverb Effects 12.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms. At more extreme settings, it can produce interesting artificial, metallic textures. Automating the Color parameter usually yields very pleasing results. The Reflex panel in the Plug-in Strip. The Reflex in the Control area.
Effect Reference Spatial and Reverb Effects Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Reflex reverb on the controller. 12.4.4 Reverb 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.
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. 12.4.5 Plate Reverb This effect emulates a plate reverberation. Partly inspired by a legendary plate reverb system, this efficient reverb effect can be used in numerous situations. Its controls make the Plate Reverb easy to use while still flexible and unique sounding. The Plate Reverb is the best choice if a vintage metallic sound is desired.
Effect Reference Spatial and Reverb Effects The Plate Reverb in the Control area. Parameter Description MAIN Section Pre Delay Adjusts the time between the original signal and the early reflections. 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. High Damp Adjusts the damping of the high frequencies in the reverberated signal.
Effect Reference Delays 12.5 Delays 12.5.1 Beat Delay The Beat Delay is specialized for creating delays that are synced to the tempo. If you wonder how this sounds, load up the Project “Big Stream” from the MASCHINE factory library: the Beat Delay is used in various Groups here and offers a lot of rhythmic sonic possibilities. Please note that in the Control area and on your controller the Beat Delay parameters are spread over two pages. The Beat Delay panel in the Plug-in Strip.
Effect Reference Delays 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. Feedback Adjusts the amount of output signal fed back into the input. Higher values produce more copies of the signal and longer decays.
Effect Reference Delays Unit Page The Beat Delay in the Control area: Unit page. Parameter Description UNIT Section Unit Defines the unit used by the Time and Offset parameters on the Main page. The Beat Delay on the controller: UNIT page. 12.5.2 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 The Grain Delay panel in the Plug-in Strip. 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 Parameter Description Mod The amount of modulation introduced to the grain cloud. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo).
Effect Reference Delays The Grain Delay on the controller: OUTPUT page. 12.5.3 Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the incoming signal. The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area.
Effect Reference Delays 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. Link When on, grain size is corrected by the pitch. Size Adjusts the size of the grains.
Effect Reference Delays The Resochord panel in the Plug-in Strip. 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 Brightness This is to determine the basic sound characteristic of the Resochord: higher values will brighten the sound by adding high frequencies. Feedback Adjusts the amount of output signal fed back into the input. Decay With Decay you adjust how fast the Resochord fades out. 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. 12.
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. 12.6.2 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 12.6.3 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 Overload Boosts the low frequencies of the input signal. Used together with the Charge parameter (see above) it provides you with a powerful tool to produce a richer, fatter sound. Drive Adjusts the level of the input signal. This directly affects the amount of tube distortion. EQ Section Bypass Enable this button to bypass the EQ section. Bass Adjusts the level of the low frequency band.
Creating a Song Using Scenes Arranger Basics 13 Creating a Song Using Scenes 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… Scenes provide a very flexible way to arrange your song. 13.1 Arranger Basics The place where you organize Scenes is the Arranger, located in the top right part of the MASCHINE window.
Creating a Song Using Scenes Arranger Basics ▪ On the other hand, a Pattern can be played in several Scenes: In fact a Scene only contains a reference to your Pattern, and you can place as many references to this Pattern as you want in different Scenes in the Arranger. For example, in the picture above, Scene 3 and 4 use the same Pattern 1 of the Harmony Fillers Group. When you modify your Pattern in the Pattern Editor, all references to it in the Arranger will get updated accordingly.
Creating a Song Using Scenes Arranger Basics 13.1.1 Arranger Overview In the MASCHINE software, the Arranger is where you define what should play with what, and when. This overview of the Arranger introduces you its main parts and control elements. An overview of the Arranger. (1) Mix View button: Click the Mix View button to switch the MASCHINE software between the Arrange view and the Mix view. The Arranger is visible only in Arrange view, i.e. only if the Mix View button is disabled.
Creating a Song Using Scenes Arranger Basics (5) Scene names: The top row of the Arranger displays all Scenes of your Project, represented by their name. All Clips located in the column under a Scene will be played together in that Scene. Clicking a Scene name selects the Scene, moves the playhead to that Scene (see section ↑13.3.2, Jumping to Other Scenes), and sets the Loop Range (9) to that Scene.
Creating a Song Using Scenes Arranger Basics ▪ The Scene mode and Scene Arrange mode allow you to select and manage your Scenes, and work on the structure of your arrangement: ↑13.2, Managing Scenes. ▪ The Pattern mode lets you create and delete Clips: ↑13.1.5, Creating and Removing Clips. ▪ The Grid mode lets you adjust the Perform Grid used for transitions between Scenes: ↑13.3.2, Jumping to Other Scenes.
Creating a Song Using Scenes Arranger Basics ▪ Similarly, click the right handle (3) of the scroll bar, hold the mouse button, and drag your mouse horizontally to zoom in or out of the Arranger while keeping the left border of the display at a fixed position in the song. ▪ Double-click the main part (1) to reset the zoom and display all Scenes. Navigating the Arranger Vertically (Groups) A classic scroll bar is available right of the Arranger.
Creating a Song Using Scenes Arranger Basics 1. From Control mode, press and hold NAVIGATE to enter Navigate mode. 2. 3. Turn Knob 1 (Arranger Zoom) to zoom in or out of the Arranger. Turn Knob 2 (Arranger Scroll) to scroll through the Arranger. 13.1.
Creating a Song Using Scenes Arranger Basics → The Follow button lights up in the MASCHINE Header. 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 of your Project that is currently played. The Follow function will be automatically disabled as soon as you manually scroll in the Arranger or the Pattern Editor (in the software or from your controller).
Creating a Song Using Scenes Arranger Basics 13.1.4 Jumping to Another Playback Position in Your Project You can use the timeline under the Scene headers in the Arranger to set the playback to the desired position. In the timeline and across the entire height of the Arranger, the playhead (a white vertical line) indicates the current play position in your Project. The playhead shows you the current play position.
Creating a Song Using Scenes Arranger Basics You can also change the playback position by switching to another Scene. The moment at which the jump will occur depends on the Perform Grid setting. See section 13.3.2 for more information. 13.1.4.1 Controlling the Playback Position in Your Project from the MASCHINE STUDIO Controller From your controller, you can control the playback position in two different resolutions.
Creating a Song Using Scenes Arranger Basics If the Step Grid is disabled (i.e. set to OFF), the jumps are based on bars. For more information on the Step Grid, see section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid. 13.1.5 Creating and Removing Clips Each Clip placed in the Arranger references one of the Patterns available in the Pattern Editor for the corresponding Group.
Creating a Song Using Scenes Arranger Basics 2. In the Pattern Editor, open the Pattern Manager and click the desired Pattern slot to select it (see section ↑7.7.2, Selecting Patterns and Pattern Banks for more information). → Upon your selection, a Clip referencing this Pattern is inserted into the selected Scene: ▪ The Clip replaces any previous Clip for that Group in the Scene. ▪ The Clip displays the name and color of the Pattern it is referencing.
Creating a Song Using Scenes Arranger Basics Removing a Clip Removing a Clip is done in the Arranger: ► To remove a Clip, right-click it (on Mac OS X: [Ctrl]-click it). → The Clip is removed from the Scene: ▪ The corresponding Pattern will not be played by that Scene anymore. ▪ The Pattern itself is left untouched. ▪ If the Clip was the longest in the Scene, the Scene will automatically shrink to the next longest Clip. 13.1.5.
Creating a Song Using Scenes Arranger Basics 2. 3. → 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 Clip already exists in the selected Scene for that Group, the referenced Pattern is highlighted and its pad is fully lit.
Creating a Song Using Scenes Managing Scenes ► To remove the Clip for the selected Group from the selected Scene, press PATTERN + Button 2 (REMOVE). → The Clip is removed from the Scene: ▪ The corresponding Pattern will not be played by that Scene anymore. ▪ The Pattern itself is left untouched. ▪ If the Clip was the longest one in the Scene, the Scene will automatically shrink to the next longest Clip. 13.
Creating a Song Using Scenes Managing Scenes Use the Scene Manager to manage your Scenes. ▪ On the left you can see the list of the 16 Scene slots in the selected Scene bank. Slots containing a Scene show a colored or white bar on the left along with the Scene name. The other slots contain no Scene. The selected Scene is highlighted (Scene 19 in the image above).
Creating a Song Using Scenes Managing Scenes ► To close the Scene Manager, click anywhere outside it. Scene Manager vs. Arranger’s Top Row If all Scene operations can be done in the Scene Manager, most of them can also be done in the top row of the Arranger: The top row of the Arranger. The only difference between the Scene Manager and the Arranger’s top row is that the Scene Manager allows you to manage your Scene banks, which is impossible in the Arranger’s top row.
Creating a Song Using Scenes Managing Scenes The Scene Arrange mode in the controller displays. In Scene 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 Scenes organized in columns and Groups organized in rows. ◦ The overview includes a timeline (1) and shows the current Loop Range (4).
Creating a Song Using Scenes Managing Scenes ◦ 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 Button 3 (FOLLOW) and let the right display follow the playhead as it travels through your arrangement — see section ↑13.1.3, Following the Playback Position in Your Project for more information. ◦ At the top of the right display you see the Scenes names (7) with the timeline (8) underneath.
Creating a Song Using Scenes Managing Scenes The Scene mode in the controller displays. Apart from a few commands, the main difference between the Scene mode and the Scene Arrange mode is found in the right display of the controller: In Scene mode you see all Scene slots of the selected Scene bank represented as a square of 4x4 cells: ▪ The highlighted cell indicates the selected Scene slot. ▪ Cells showing a name represent Scene slots containing a Scene. ▪ Empty cells represent empty Scene slots.
Creating a Song Using Scenes Managing Scenes ► Select the desired Scene by clicking its name at the top of the Arranger: → The Scene name is now underlined to indicate that this Scene is selected. Selecting a Scene and a Scene Bank in the Scene Manager To select a Scene in the Scene Manager, do the following: 1. Open the Scene Manager (see ↑13.2.1, Scene Management Overview).
Creating a Song Using Scenes Managing Scenes 2. If it is not already selected, select the Scene bank containing the desired Scene by clicking its pad grid on the right. The selected Scene bank is surrounded by a white border, and the left part of the Scene Manager displays the Scene slots in that bank.
Creating a Song Using Scenes Managing Scenes 3. Select the desired Scene 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. → The Scene slot and the corresponding cell on the right are now highlighted to indicate that this Scene is selected.
Creating a Song Using Scenes Managing Scenes ◦ 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. For more info on the Loop Range see section ↑13.3.1, Selecting a Loop Range. For more info on the Perform Grid settings see section ↑13.3.2, Jumping to Other Scenes. 13.2.2.
Creating a Song Using Scenes Managing Scenes ◦ The Loop Range is set to the selected Scene — see section ↑13.3.1, Selecting a Loop Range. ◦ 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 ↑13.3.2, Jumping to Other Scenes. ▪ If you have selected a Scene within the current Loop Range via the Page buttons, the Loop Range and the playback position stay untouched. 13.2.
Creating a Song Using Scenes Managing Scenes 2. If it is not already selected, click the desired pad grid on the right to select the Scene bank where you want to create a Scene. The selected Scene bank is surrounded by a white border, and the left part of the Scene Manager displays the Scene slots in that bank.
Creating a Song Using Scenes Managing Scenes 3. Click any empty Scene slot in the list on the left or click any dark cell in the selected pad grid on the right to create a new empty Scene there. → A new empty Scene is created in the selected Scene slot. The new Scene also appears in the pad grid on the right as well as in the Arranger — in the Arranger the new Scene is inserted at the location corresponding to its order of appearance in the Scene Manager.
Creating a Song Using Scenes Managing Scenes 1. In the top row of the Arranger or in the Scene Manager, right-click ([Ctrl]-click on Mac OS X) the name of the Scene after which you want to insert the new Scene and select Insert from the context menu: → A new empty Scene is inserted right after the Scene in question, both in the Arranger and in the Scene Manager. 13.2.3.
Creating a Song Using Scenes Managing Scenes You can also insert new Scenes in Scene Arrange mode: press ARRANGE then Button 1 (SCENE) to enter Scene Arrange mode, then follow the procedure described above. 13.2.4 Deleting Scenes To delete a Scene: 1. In the top row of the Arranger or in the Scene Manager, right-click ([Ctrl]-click on Mac OS X) the name of the Scene you want to delete and select Delete from the context menu: → The Scene is deleted with all its Clips.
Creating a Song Using Scenes Managing Scenes ► To delete a Scene in the Scene Manager, hover the slot of the desired Scene with your mouse and click the little cross that appears on the right of the slot: 13.2.4.1 Deleting Scenes on the MASCHINE STUDIO Controller To delete a Scene on your controller: 1. 2. 3. 4. Press and hold SCENE to enter Scene mode. Press Button 7 and 8 to select the desired Scene bank. Press the pad corresponding to the Scene you want to delete.
Creating a Song Using Scenes Managing Scenes 13.2.5 Creating and Deleting Scene Banks You can create and delete Scene banks in order to organize your Scene to your liking. Creating a Scene Bank If the last Scene bank contains at least one Scene (even empty), you can create an additional Scene bank after that last bank. To do this: 1. 2. Open the Scene Manager (see ↑13.2.1, Scene Management Overview). Click the “+” symbol under the last pad grid on the right to create another Scene bank.
Creating a Song Using Scenes Managing Scenes 2. Hover the pad grid of the desired Scene bank with your mouse. A little cross appears at the top right of the pad grid. 3. Click the little cross to delete that Scene bank. → The Scene bank is deleted including all its Scenes, if any. The following banks are shifted up to fill the gap. 13.2.5.
Creating a Song Using Scenes Managing Scenes 3. Press SHIFT + Button 6 (DELETE) to delete the selected Scene bank. → The Scene bank is deleted including all its Scene, if any. The following banks are shifted up to fill the gap. You can also create and delete Scene banks in Scene Arrange mode: press ARRANGE then Button 1 (SCENE) to enter Scene Arrange mode, then follow either of the procedures described above. 13.2.6 Naming Scenes By default, Scenes are named Scene 1, Scene 2, Scene 3, etc.
Creating a Song Using Scenes Managing Scenes 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. Renaming Scenes in the Scene Manager To rename a Scene in the Scene Manager: 1. 2. 3. Open the Scene Manager (see ↑13.2.1, Scene Management Overview). If necessary, select the Scene bank containing the desired Scene by clicking its pad grid on the right.
Creating a Song Using Scenes Managing Scenes 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. In this case, click anywhere else in the MASCHINE plug-in window to confirm the name you have entered. 13.2.7 Changing the Scene’s Color You can change the color of each Scene in the software. To do this: 1.
Creating a Song Using Scenes Managing Scenes Once you have set a custom color for a Scene as described above, the Scene will retain its color when you move it in the Arranger (or in the Scene Manager), and the color will be stored with the Scene when you save your Project. Note that you can select the same color as the one used by default: In that case the color (even unchanged) will be considered as a custom color and will follow the Scene as you move it. 13.2.
Creating a Song Using Scenes Managing Scenes → The Scene takes its new place. In Scene mode you can now select this Scene via the pad corresponding to its new location. You can also move Scenes in Scene Arrange mode: press ARRANGE then Button 1 (SCENE) to enter Scene Arrange mode, then follow the procedure described above. 13.2.9 Clearing Scenes Clearing a Scene allows you to remove all its Clips, leaving the Scene empty. Clearing Scenes is only available from within the software.
Creating a Song Using Scenes Managing Scenes Copying and pasting a Scene is similar to duplicating the Scene except that you can choose where the Scene copy has to be inserted. This is available only from your controller. Duplicating a Scene To duplicate a Scene: ► Right-click ([Ctrl]-click on Mac OS X) the Scene name in the Arranger or in the Scene Manager, and select Duplicate from the context menu.
Creating a Song Using Scenes Managing Scenes 13.2.10.2 Copying and Pasting Scenes on Your Controller While the duplicating method described above is the quickest one, you can also copy a Scene to the Scene slot of your choice via the DUPLICATE button of your controller: 1. 2. 3. 4. → Press and hold SCENE to enter Scene mode (you can also pin it by pressing Button 1). Press and hold DUPLICATE (you can also pin it by pressing Button 1). Press the pad of the Scene you want to copy.
Creating a Song Using Scenes Playing with Scenes Studio Track or Live Performance? If you are composing a studio track that you plan to export as is, you can arrange your Scenes so that your whole track can be played in one go from the very first Scene to the very last one. Please refer to section ↑4.4.3, Exporting Audio for information on exporting audio.
Creating a Song Using Scenes Playing with Scenes The Loop Range in the Arranger. The next paragraphs describe how to select the desired Loop Range. Setting the Loop Range to a Single Scene You can easily set the Loop Range to a single Scene by selecting any Scene outside the current Loop Range: ► To set the Loop Range to a single Scene outside the current Loop Range, simply select this Scene in the Arranger’s top row or in the Scene Manager.
Creating a Song Using Scenes Playing with Scenes Manually Adjusting the Loop Range You can also precisely adjust the Loop Range in the Arranger timeline: The Arranger timeline showing that the single Scene Scene 1 is looped. You have following actions at your disposal: ► Drag the Loop Range’s highlighted region horizontally to move the whole Loop Range. ► Drag the left or right border of the Loop Range horizontally to move the Loop Range’s start or end point, respectively.
Creating a Song Using Scenes Playing with Scenes ▪ If the playhead was outside the Loop Range and gets into the Loop Range (because of the normal playback, a change in the Loop Range or any other reason), the above applies. ▪ Any resulting jump of the playhead will be based on the same rules as when you move it manually — see section ↑13.1.4, Jumping to Another Playback Position in Your Project for more information. 13.3.1.
Creating a Song Using Scenes Playing with Scenes The start and end Scenes can be in different Scene banks. Simply press Button 7 or 8 to switch to the desired Scene bank before you hold the pad of the start or end Scene. Quickly Setting the Loop Range to the Entire Project You can quickly select all Scenes in one go: ► Press SCENE + Button 3 (ALL) to include all available Scenes in the Loop Range.
Creating a Song Using Scenes Playing with Scenes ► Hold SHIFT + RESTART (LOOP) + Left/Right Locate button and turn the Control encoder to move the Loop Range’s start or end point, respectively. This modifies the length of the Loop Range. These adjustments are quantized according to the Pattern Grid. If the Pattern Grid resolution is set to Quick mode, the quantization uses bars instead. If the Pattern Grid is disabled (i.e. set to Off) you can freely adjust the Loop Range at the maximum resolution.
Creating a Song Using Scenes Playing with Scenes In the software, the Perform Grid and the Retrigger setting can be adjusted in the MASCHINE Header: Adjusting the Perform Grid and Retrigger setting. ► To adjust the Perform Grid, click the value left of the SYNC label in the MASCHINE Header and select the desired division from the menu: → The next time you select a new Scene or group of Scenes for looping, the switch will happen on the next division selected here.
Creating a Song Using Scenes Playing with Scenes 2. Press Button 2 (PERFORM) to access the Perform Grid settings. The right display will show you which pad represents which resolution: 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.
Creating a Song Using Scenes Triggering Scenes via MIDI (MASCHINE Plug-in Only) 13.4 Triggering Scenes via MIDI (MASCHINE Plug-in Only) If MASCHINE is running as a plug-in in a host environment, you can trigger and change Scenes using MIDI Note or MIDI Program Change messages sent from your host to the MASCHINE plug-in. When this feature is enabled, MIDI notes or Program Change messages are linked to the first 128 Scenes slots MASCHINE’s Scene Manager (i.e.
Creating a Song Using Scenes Triggering Scenes via MIDI (MASCHINE Plug-in Only) 2. 3. 4. Click MIDI Scene Change from the menu. In the submenu that opens, select MIDI Note to trigger your Scenes via MIDI notes, Program Change to trigger your Scenes via MIDI Program Change messages, or None (default setting) to disable Scene MIDI Change completely. If necessary, reopen the same submenu and select the MIDI channel the Scenes should receive MIDI messages from (channel 1 by default).
Sampling and Sample Mapping Opening the Sample Editor 14 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 Opening the Sample Editor 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: ↑14.2, Recording a Sample. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑14.3, Editing a Sample.
Sampling and Sample Mapping Recording a Sample 2. Press SAMPLING to enter Sampling mode and access the Sample content of the focused Sound: 3. Press Button 1–4 to select the desired page: ▪ The Record page allows you to record new Samples: ↑14.2, Recording a Sample. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑14.3, Editing a Sample. ▪ The Slice page allows you to create Slices from your existing Samples: ↑14.4, Slicing a Sample.
Sampling and Sample Mapping Recording a Sample ► In the Sample Editor, click the Record tab at the top to open the Record page. The Record page looks as follows: The Record page in the software. 14.2.1.1 Opening the RECORD Page on Your Controller ► In Sampling mode, press Button 1 to access the RECORD page.
Sampling and Sample Mapping Recording a Sample The RECORD page on the controller. 14.2.2 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 ▪ 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 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. For this purpose, in Detect mode the level meters additionally provide a fader adjusting the threshold level — this fader is a strict equivalent to the THRESHOLD control described above.
Sampling and Sample Mapping Recording a Sample Adjusting the source and mode of the recording on your controller. Selecting the Source to Record First choose which source you want to record using the SOURCE and INPUT parameters: Parameter Description SOURCE (Knob 1) Select here the type of source you want to record. To record external audio signals connected to your audio interface, select EXT. STER. (for stereo signals) or EXT. MONO (for mono signals).
Sampling and Sample Mapping Recording a Sample You can also set SOURCE to INTERNAL, choose as INPUT a Group with a drum kit loaded, and record your live improvisations on the pads while playing this drum kit! You will then have your own improvisations recorded as Samples, ready to be used, edited, sliced, etc.
Sampling and Sample Mapping Recording a Sample 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. For this purpose, in Detect mode the level meters provide a little down-pointing arrow indicating the threshold level. Prelistening to the input signal.
Sampling and Sample Mapping Recording a Sample For more information on how to use the Cue bus, please refer to section ↑9.2.6, Using the Cue Bus. 14.2.3 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 ↑14.2.
Sampling and Sample Mapping Recording a Sample 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 clicking Start. To stop recording, click Stop. In any case the recorded audio will be stored in the Sound that was under focus as you started the recording.
Sampling and Sample Mapping Recording a Sample 14.2.3.1 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 ↑14.2.2, 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 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.g.
Sampling and Sample Mapping Recording a Sample Click the main part of the scroll bar and drag your mouse horizontally to scroll through the waveform on the horizontal axis (time), or drag it vertically to zoom in/out on the same time axis. You can also click the left or right handle of the scroll bar and drag it horizontally to zoom in/out while keeping the opposite border of the display at a fix position in the waveform.
Sampling and Sample Mapping Recording a Sample Command Description Delete Deletes the displayed Sample from the Recording History. This has the same effect as clicking the little cross at the top right corner of the selected mini waveform in the Recording History. Remove unused recordings Deletes from the Recording History all recordings that are not currently mapped to any Zone in the Zone page.
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 14.3 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 ↑14.5.
Sampling and Sample Mapping Editing a Sample 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 ↑14.5.5, Selecting and Editing Zones in the Map View. Note that the loop will always stay within the play range. Therefore, when moving the Sample’s start and end points closer to each other, keep in mind that it might also shrink the loop! ▪ Playhead indicator: When the Sample is played back (e.g.
Sampling and Sample Mapping Editing a Sample Shows the time scale in seconds. (4) Zooming scroll bar Click the main part of the scroll bar and drag your mouse horizontally to scroll through the waveform on the horizontal axis (time), or drag it vertically to zoom in/out on the same time axis. You can also click the left or right handle of the scroll bar and drag it horizontally to zoom in/out while keeping the opposite border of the display at a fix position in the waveform.
Sampling and Sample Mapping Editing a Sample 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. ▪ The Sample can be played back at any time by pressing the corresponding pad on your controller.
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 The EDIT page on the controller, page 2 of 2: adjusting the selection range of the Sample. Parameter Description START (Knob 1) Adjusts the start point of the selection range in the Sample. END (Knob 2) Adjusts the end point of the selection range in the Sample. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. On the right display, the selection range is highlighted.
Sampling and Sample Mapping Editing a Sample ► To apply any audio function to the selected region in your Sample, click the desired icon in the Audio Toolbar. These audio editing functions are destructive, i.e. they modify the audio material in the Sample. However, your original Sample will not be modified: For each audio function that you perform, a new, distinct copy of the Sample will be saved! The playback settings of the Sample (e.g., tune, amplitude envelope, etc.) can be adjusted on the Zone page.
Sampling and Sample Mapping Editing a Sample Command Description DUPL. (Duplicate) This duplicates the selected region of the Sample. The copy is placed right after the original region. STRETCH This allows you to apply time stretching and/or pitch shifting to the selected region of the Sample. See below for a detailed description.
Sampling and Sample Mapping Editing a Sample Parameter Description AUTO DTCT (Auto DeIf enabled, MASCHINE automatically detects the tempo of the original audio. tection, Beat mode only) SRC BPM (Source BPM, Allows to define the tempo of the original audio (in BPM). This tempo is defined in Beat mode only) 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.
Sampling and Sample Mapping Editing a Sample Audio editing functions on the right display of the controller. 1. 2. Use Button 5 and 6 to select the desired audio function. 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 ↑14.3.1, Using the Edit Page). These audio processing functions are destructive, i.e.
Sampling and Sample Mapping Editing a Sample Parameter Description 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. SILENCE This silences the selected region of the Sample. CUT This deletes the selected region from the Sample and places it into the clipboard for later use.
Sampling and Sample Mapping Editing a Sample 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. Formant correction allows the pitch-shifted audio to retain the timbre (or “color”) of the original audio as much as possible. This is especially useful for melodic instruments.
Sampling and Sample Mapping Slicing a Sample Parameter Description LENGTH If AUTO DTCT is enabled, you can define the length of the target audio (in bars). Please note that any change to the SRC BPM value (see above) will be automatically mirrored by this LENGTH value. Once you have set the number of bars in the source audio, you can set here another number of bars, thereby dividing or multiplying the tempo of the target audio.
Sampling and Sample Mapping Slicing a Sample 4. Apply the slicing to your Sample and export the Slices — whether in place or to another Sound/Group: ↑14.4.4, Applying the Slicing. Which Sample Is Shown in the Slice Page? The Slice page (SLICE page on your controller) always displays the Sample of the Zone currently selected (see section ↑14.5.4, Selecting and Managing Zones in the Zone List for more information on selecting Zones), and all your actions in that page will affect this particular Sample.
Sampling and Sample Mapping Slicing a Sample The Slice page in the software. 14.4.1.1 Opening the SLICE Page on Your Controller ► In Sampling mode, press Button 3 to access the SLICE page. The SLICE page looks as follows: The SLICE page on the controller.
Sampling and Sample Mapping Slicing a Sample 14.4.2 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. At any time you can prelisten to the proposed Slices on the Cue bus (see section ↑9.2.
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 ► Press any fully or dim lit pad to play back the corresponding Slice on the Cue bus (see section ↑9.2.6, Using the Cue Bus for more information). For more information on the Cue channel, please refer to section ↑9.2.6, Using the Cue Bus.
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 You can directly adjust your Slices manually by selecting Manual in the MODE selector, or start from MASCHINE’s proposed Slices as described in section ↑14.4.2, Adjusting the Slicing Settings and fine-adjust these Slices manually — in that case the MODE selector automatically switches to Manual. Manually adjusting your Slices.
Sampling and Sample Mapping Slicing a Sample ▪ Context menu: Right-click (Mac OS X: [Ctrl]-click) anywhere in a Slice to open a context menu with the following commands: 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 Slice under as a distinct file on your computer.
Sampling and Sample Mapping Slicing a Sample (3) Timeline Shows the time scale in seconds. (4) Information bar Displays the file name and the length of the selected Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑9.2.6, 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.
Sampling and Sample Mapping Slicing a Sample 14.4.3.1 Manually Adjusting Your Slices on Your Controller Your controller provides a dedicated Slice Edit mode that allows you to select and fine-tune each particular Slice. ► On the SLICE page of the Sampling mode, press Button 5 (EDIT) to enter/leave Slice Edit mode. → When Slice Edit mode is active, Button 5 is fully lit and the EDIT label underneath is highlighted. The Edit mode in the SLICE page.
Sampling and Sample Mapping Slicing a Sample Parameter Description Button 7 and 8 ADD (Button 7) Adds another Slice according to the current slicing settings. REMOVE (Button 8) Removes the start border of the selected Slice, thereby joining this Slice with the previous Slice. ► After you have performed your Slice edits, confirm them by pressing Button 5 (EDIT) again to leave Slice Edit mode (EDIT turns off). 14.4.
Sampling and Sample Mapping Slicing a Sample (6) Apply button Exports the Slices to the same Sound. If you click Apply, the Slices will be mapped to individual notes of this Sound, the Sample Editor will be replaced by the Pattern Editor in Keyboard view, and the pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads.
Sampling and Sample Mapping Slicing a Sample Selects from three modes controlling the automatic note creation upon Slice export. The mode selected here will be used both when clicking the Apply button (6) and when using the Slice Dragger (7).
Sampling and Sample Mapping Slicing a Sample Dragging an individual Slice to another 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. 14.4.4.1 Exporting the Slices on Your Controller Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑14.4.
Sampling and Sample Mapping Slicing a Sample Selecting a target for the exported Slices. In this Selection mode, you can choose to export the Slices to a Sound or to a Group. To export the Slices to a Sound: 1. 2. 3. → Select the Group containing the target Sound by pressing its Group button A–H. If your Project has more than eight Groups, you can use Button 3 and 4 to first select the desired Group bank.
Sampling and Sample Mapping Slicing a Sample 1. 2. → Select the desired Group by pressing its Group button A–H. If your Project has more than eight Groups, you can use Button 3 and 4 to first select the desired Group bank. The selected Group button starts flashing and the corresponding Group is highlighted on the left display. Press Button 8 (APPLY) to export the Slices. The Slices will be mapped to individual Sound slots, replacing their current content (if any).
Sampling and Sample Mapping Mapping Samples to Zones 14.5 Mapping Samples to Zones Mapping Samples is a way to create Sounds with more than one Sample across the MIDI keyboard and with different velocities. You can create and adjust Zones that define a key (or pitch) range and a velocity range for each Sample included in the Sound. In other terms, the Sample will be triggered only if the played note is within its Zone’s key range and velocity range.
Sampling and Sample Mapping Mapping Samples to Zones The Zone page (here for an empty Sound). 14.5.1.1 Opening the ZONE Page on Your Controller ► In Sampling mode, press Button 4 to access the ZONE page. The ZONE page on the controller.
Sampling and Sample Mapping Mapping Samples to Zones 14.5.2 Zone Page Overview The Zone page provides following elements: 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 ↑9.2.
Sampling and Sample Mapping Mapping Samples to Zones (4) Zone List: Shows all Zones in a list. The Zone List can be shown/hidden by clicking the Zone List button (1). Click an entry in the list to set the focus to that Zone. You can also select multiple Zones, move them via drag and drop, and add/delete Zones in the list. See section ↑14.5.4, Selecting and Managing Zones in the Zone List for a complete description of the Zone List.
Sampling and Sample Mapping Mapping Samples to Zones The key range of several Zones can overlap, as can the velocity range. Adding Multiple Samples at Once You can also drag several Samples to the Sample Map at once: 1. 2. → Hold [Ctrl] ([Cmd] on Mac OS X) or [Shift] on your computer keyboard and click the desired Samples in the Browser or in your operating system. Drag the selected Samples to the Sample Map. This will create multiple adjacent Zones. The width (i.e.
Sampling and Sample Mapping Mapping Samples to Zones 14.5.4 Selecting and Managing Zones in the Zone List The Zone List shows all Zones of the focused Sound. The Zone List in the Zone page. ► Click the Zone List button next to the Slice tab to show/hide the Zone List. The Zone List allows you to add, remove, replace, select, and reorder Zones in the list. You can adjust the width of the Zone List by dragging its right border.
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. 2. A Load Sample dialog opens up. 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 1. Right-click ([Ctrl]-click on Mac OS X) the desired entry in the Zone List and select Load Sample… in the menu that opens. 2. A Load Sample dialog opens up. 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 ↑14.5.5, Selecting and Editing Zones in the Map View for more on this). Mouse/Keyboard Action Command Multiple Selection Hold [Ctrl] ([Cmd] on Mac OS X) 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 Moving Zones in the List You can move your Zones across the Zone List via drag and drop: 1. 2. Select the Zone(s) you want to move. 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. When the insertion line indicates the desired location, release the mouse button to drop the selected Zone(s) to this new place.
Sampling and Sample Mapping Mapping Samples to Zones The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller. When the Sample is played back, the Playhead indicator (vertical line) shows you the current play position within the waveform on the right display. For more information on the Cue channel, please refer to section ↑9.2.6, Using the Cue Bus.
Sampling and Sample Mapping Mapping Samples to Zones 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 ↑14.5.3, 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 [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 Mac OS X) Selects/deselects all Zones. When deselecting, only the focused Zone remains selected. Edit Commands Drag the left/right border of a Zone Adjusts the key range for the selected Zones.
Sampling and Sample Mapping Mapping Samples to Zones The commands in the Sample Map menu will affect all selected Zones. The menu provides following commands: Command Description Delete Removes the selected Zone(s) from the Sample Map. Map as Drum Kit Reduces the selected Zones to one note over the full velocity range and puts the Zones next to each other upwards from the middle C (C3).
Sampling and Sample Mapping Mapping Samples to Zones 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 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 By moving the loop’s start and end points closer to each other you can shrink the loop to very small values on-the-fly, thereby creating very interesting glitch effects in a live situation. The loop will always stay within the play range of the Sample.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description KEY LO (Lowest Key) Sets the lowest note (key) of the focused Zone. Alternatively, you can drag the left border of the Zone in the Map. KEY HI (Highest Key) Set the highest note (key) of the focused Zone. Alternatively, you can drag the right border of the Zone in the Map. VEL LO (Lowest Velocity) Defines the lowest velocity of the focused Zone. Alternatively, you can drag the lower border of the Zone in the Map.
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller – page 1 of 5: PLAY RANGE parameters. 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 ACTIVE (Knob 1) 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 in the PITCH / GATE section (Parameter page 2, see ↑6.2.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description TUNE (Knob 1) Sets the tuning of the focused Zone. GAIN (Knob 2) Sets the gain of the focused Zone. 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.
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.
Troubleshooting – Getting Help Troubleshooting 15 Troubleshooting – Getting Help This chapter assists you in solving common issues with MASCHINE and provides you with the necessary information for getting further assistance. Before getting help please make sure you have downloaded the latest MASCHINE software and documentation from Service Center! 15.1 Troubleshooting A few common issues and possible solutions when working with MASCHINE are listed in this section. 15.1.
Troubleshooting – Getting Help Troubleshooting ▪ It is not recommended to run the laptop on battery, as built-in power management systems might slow the clock rate of the CPU in an effort to extend battery life. ▪ Disconnect all unused hardware (e.g., printer, scanner). This will increase the amount of processing power available for your music software.
Troubleshooting – Getting Help Getting Help struments applications when showing the details for an application within the Overview page of the Service Center. Updates are available on the Update page in Service Center or on our website under: http://www.native-instruments.com/updates 15.
Troubleshooting – Getting Help Getting Help When communicating with the Native Instruments Support team, keep in mind that the more details you can provide about your hardware, your operating system, the version of the software you are running, and the problem you are experiencing, the better they will be able to help you.
Appendix: Tips for Playing Live Preparations 16 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. 16.1 Preparations 16.1.
Appendix: Tips for Playing Live Preparations 16.1.4 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 ↑12.1.4, Limiter for more information. 16.1.
Appendix: Tips for Playing Live Basic Techniques 16.2.3 Create Variations of Your Drum Patterns in the Step Sequencer You can easily create interesting drum patterns by adding or removing steps in the step sequencer. Breaks and build-ups like snare rolls or a double-tempo hi-hat can be created on the fly. See ↑7.3, Recording Patterns with the Step Sequencer for more information on the step sequencer. 16.2.
Appendix: Tips for Playing Live Special Tricks 16.3.2 Using Loops to Cycle Through Samples You can use loops to cycle through Samples, creating glitches and stuttering breaks or interesting soundscapes. Just enter the ZONE page in Sampling mode on your controller, switch on the ACTIVE parameter on the Loop page and play with the parameters for the start and end point of the loop. Use the SHIFT button to change the values in smaller increments. See ↑14.5.
Glossary 17 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, when the MASCHINE software is in Mix view (default view). On its left you can select Groups.
Glossary BPM BPM stands for “beats per minute.” It is the most common unit to measure the tempo in a musical context. Browser The Browser is the front end for accessing all MASCHINE files: Projects, Groups, Sounds, presets for Instrument and Effect Plug-ins, and Samples. Each of these can be stored, tagged, and categorized in a way that allows you easy access to all of them.
Glossary Choke Groups Choke group allows you establish links between pads so that triggering the Sound of a pad automatically mutes other Sounds in that Choke group. You can have up to eight Choke groups in each Group. In a Choke group, each pad can be set as Master or Slave: Pressing a Master pad will trigger its own Sound and mute all other Sounds in the Choke group, while pressing a Slave pad will only trigger its own Sound. Clip Clips are found in the Arranger in form of colored blocks.
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 Event area. Depending on the current view in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the focused Sound slot only (Keyboard view). Groove Properties The Groove properties control the rhythmic relationship between events for the selected Group/ Sound or the Master. By shifting some of the events, you can e.g.
Glossary Header The Header is the topmost row of controls in the MASCHINE software window. Always visible, the Header 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 that shows events for the focused Sound only. The Keyboard view provides a vertical on-screen keyboard that indicates the pitch of each event (one row per semi-tone).
Glossary Macro Control Each Sound, each Group as well as the Master provides Macro Controls to which you can assign any of its parameters (of any parameters of any Sound or Group within it). This way, in any Sound, any Group or the Master you can define your custom set of parameters for quick access! Master The Master is where all audio signals from each of the Groups and Sounds come together and get mixed. The Master channel can also have any number of insert effects loaded in its Plug-in slots.
Glossary Parameter Pages The Parameter pages constitute the biggest part of the Control area in the MASCHINE window. They contain the adjustable parameters for the Plug-ins and Channel properties of the focused Sound/Group or those of the Master. Pattern A Pattern is a sequence that plays Sounds from a Group. It belongs to that Group and will be saved together with the Group. In every Scene you can choose for each Group which of its Patterns has to be played.
Glossary Project A Project contains all data needed for a song: all Groups, Patterns, Sounds, Samples, Scenes and all settings, modulation, effects, routings, etc. It’s like a snapshot of the entire state of MASCHINE. Quantization To quantize a Pattern is to make its events snap to a set of equally distributed locations known as steps. This ensures that these events are on beat. You can also let MASCHINE automatically quantize events that you record live.
Glossary Scene A Scene is a combination of Clips for your different Groups. Each Clip references a specific Pattern of a Group. In a Scene you can create one Clip for each Group. Scenes are located in the Arranger. They can be used to build up a finished arrangement or to trigger different parts of a song during a live performance. Send Effect A send effect is an effect available for audio signals located in other Sounds and/or Groups.
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 (i.e. the Step Grid resolution), e.g., to apply different quantization to different events or to divide the Event area into finer divisions to edit your Pattern more precisely.
Glossary Time Signature The time signature of a Project (or song) defines both the Project’s time unit (e.g., the quarter note) and the Project’s bar length measured in that unit (e.g., four quarter notes). The time signature is written in form of a fraction: for example, a time signature of 3/8 will mean that the Project’s time unit is the eighth note, and the Project’s bars are three eighth note long.
Index Index A definition [711] Amplitude Envelope (Sampler) [224] [228] Automation definition [711] ARRANGE button [248] [598] Arranger [582] [584] definition [711] selecting a Loop Range [621] ASIO driver [75] Attribute Editor [112] AU plug-ins [233] Audio rendering from Patterns [336] rendering from Sounds/Groups/Project [170] Audio and MIDI Settings [73] Audio page [74] MIDI page [76] Routing page [75] Audio driver (selecting) [74] Audio input [351] [509] Audio interface [708] selecting inputs an
Index C Color Channel Group [158] Groove properties [196] Pattern [331] Input properties (Audio page) [351] [509] Scene [616] Macro properties [389] Sound [147] Output properties (Audio page) [355] Compressor [527] Output properties (Aux page) [361] Control area Channel properties [349] definition [712] Groove [196] Input [351] [509] Macro [389] Output [355] [361] [365] Choke All Notes [195] Choke group definition [713] definition [713] Control Lane [311] definition [711] Control mode def
Index adjusting the output [365] Cut/copy/paste events/notes (controller) [304] events/notes (software) [302] D Delay effects [566] Delete events/notes (controller) [300] events/notes (software) [299] Group [165] Digital distortion [576] Display brightness [69] Distortion [574] avoiding [708] Driver selecting an audio driver [74] Drum program files importing [176] Duplicate Group [162] Pattern (controller) [334] Pattern (software) [332] Scene (controller) [619] Scene (software) [618] Sound [150] Dyn
Index E Freq Shifter [554] Edit Gate [531] events/notes (controller) [295] Grain Delay [568] EDIT page (controller) [652] Grain Stretch [571] Edit page (software) [649] Ice [558] Effect categories insert effect [714] delays [566] introduction [30] distortions [574] Limiter [536] dynamics [527] loading [496] filtering [543] Lofi [576] modulation [550] manipulating [505] spatial and reverbs [558] Maximizer [539] Effects [496] [526] Metaverb [559] applying [496] multieffect [523] a
Index Event Edit mode (controller) [296] Export MIDI from Pattern [338] Event Select mode (controller) [289] Events Exporting audio [170] cut/copy/paste (controller) [304] from Patterns [336] cut/copy/paste (software) [302] External audio [351] [509] definition [714] External Plug-ins [233] deleting (controller) [300] deleting (software) [299] editing (controller) [295] editing with the mouse [284] introduction [29] moving (controller) [281] [298] moving (software) [293] nudging (controller) [281
Index G naming [157] Gate [531] Output properties (Audio page) [355] Grain Delay [568] Output properties (Aux page) [361] Grain Stretch [571] pasting [162] Groove [196] rendering audio from [170] Groove properties [196] saving [160] saving with Samples [167] definition [714] set up as send effect [516] Group applying effects to [496] soloing [190] color [158] triggering Sounds via MIDI notes [371] copying and pasting [162] Group index [191] creating [155] Group List [135] definition [
Index I L Ice [558] Latency [75] [707] [715] Import LFO [546] [551] [556] MIDI to Pattern [340] IMPORT button [126] Library [83] importing your own files [126] Importing your files into the Library [126] LIBRARY pane [85] Input properties Limiter [536] Audio page [351] [509] Input Quantization [274] Insert effect [714] Instance definition [714] using [708] Link group definition [715] Link groups [186] Load Group with Patterns [110] K Key [184] Keyboard mode (controller) [182] quick erasin
Index M exporting from Pattern [338] Macro Controls [389] importing to Pattern [340] definition [716] keyboard [183] Macro Controls (controller) [391] sending MIDI from Sounds [385] MASCHINE Library [83] synchronizing [79] [80] MASCHINE software triggering Scenes via [629] stand-alone or plug-in [51] Master triggering Sounds via MIDI notes [371] MIDI Clock [79] [80] applying effects to [496] Missing Samples [127] definition [716] MODES Filter [87] Groove properties [196] Modulation [30
Index Scene (controller) [617] N Scene (software) [617] Name Sound [151] Group [157] Move events/notes (controller) [281] [298] Pattern [329] Multieffect [523] Scene [614] Multi-effect [709] Sound slot [146] Mute [708] Native Instruments Plug-ins [233] definition [716] New features in MASCHINE 2.
Index selecting (controller) [289] [291] P selecting (software) [288] Pad modes (controller) [181] transposing (controller) [299] transposing (software) [294] Nudge events/notes (controller) [281] [298] definition [716] Pad sensitivity [69] Pads Nudge events/notes (software) [295] Choke groups [185] O Link groups [186] Octaves transposing events/notes by [299] Output properties Audio page [355] [365] Aux page [361] Overdub mode (controller) [267] recording [267] Parameter page definition [7
Index deleting (controller) [326] recording in Control mode (controller) [267] deleting (software) [325] recording in Step mode (controller) [275] deleting events/notes (controller) [300] renaming [329] deleting events/notes (software) [299] rendering audio from [336] doubling (controller) [306] resizing events/notes (controller) [298] duplicating (controller) [334] resizing events/notes (software) [293] duplicating (software) [332] resizing events/notes in Step mode (controller) [281] editin
Index Pattern Length [260] External [233] Pattern Manager [319] Native Instruments [233] Pattern mode [320] Preferences [55] Perform Grid [626] Colors page [71] Phaser [556] Defaults page [58] Pinning a mode (controller) [48] General page [56] Pitch scale [183] Hardware page [69] Plate Reverb [564] Library page [59] Plug-in [51] Plug-ins page [64] adjusting parameters [214] bypassing [214] Prehear [109] definition [717] introduction [30] [717] Pre-listening Samples [109] loading [207]
Index Q R Quantization Recall definition [718] quantizing after recording [305] quantizing while recording (controller) [274] Quick Browse [129] Plug-in preset [220] Record Count-in [272] Input Quantization [274] Overdub mode [267] Record Prepare mode (controller) [270] Replace mode [268] RECORD page (controller) [634] Record page (software) [633] Record Prepare mode (controller) [270] Redo [46] [48] Reflex [561] Rendering audio [170] Replace mode (controller) [268] Reset Sound slot [152] Resize e
Index in FILES pane [120] [123] S in LIBRARY pane [87] [102] Sample Retrigger Scenes [626] definition [718] Reverb [562] exporting with Group [167] Reverberation effects [558] exporting with Project [168] REX files importing into Library [126] importing to Sounds [175] Root key setting [697] [701] Routing [496] missing [127] pre-listening [109] Sample Editor [631] definition [718] Sample rate definition [718] exporting audio [174] reducing (effect) [576] selecting [75] Sampler Plug-in [22
Index recording (software) [633] jumping to another [626] slicing (software) [662] moving (controller) [617] Sampling mode (controller) [632] moving (software) [617] Saturator [578] naming [614] Save pasting (controller) [620] Group [160] Retrigger [626] Group with Samples [167] selecting (controller) [605] Plug-in preset [218] selecting (software) [601] Project with Samples [168] selecting a Loop Range [621] Sound [148] transitions [626] Scene [582] triggering via MIDI [629] arrangin
Index events/notes (controller) [289] duplicating [150] events/notes (software) [288] Groove properties [196] Semitones transposing events/notes by [299] Send effect [515] definition [719] Input properties (Audio page) [351] [509] Input properties (MIDI page) [371] introduction [28] [135] Macro properties [389] Send MIDI Clock [80] moving [151] Sequencer muting and soloing [190] definition [719] Slice [662] naming [146] Output properties (Audio page) [355] definition [719] Output properties
Index resetting [152] Soundcard [708] T Tag Filter input and output routing [75] settings [74] using [97] Tags Stand-alone application [51] assigning Types and Sub-Types [116] Step creating [116] definition [720] Step Grid [262] definition [720] Take Undo/Redo [47] [48] Tape saturation [579] Template Project Step mode (controller) [275] plug-in [59] definition [720] Step sequencer (controller) [275] stand-alone [59] Text search Step Undo/Redo [47] [48] Swing definition [720] Sync to Ext
Index V Z Velocity scaling [69] Zone View switching [30] VST plug-ins [233] W definition [721] ZONE page controller [680] software [679] What’s new in MASCHINE 2.
