MASCHINE MK3 MANUAL
Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments.
Contact NATIVE INSTRUMENTS GmbH Schlesische Str. 29-30 D-10997 Berlin Germany www.native-instruments.de NATIVE INSTRUMENTS North America, Inc. 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 USA www.native-instruments.com NATIVE INSTRUMENTS K.K. YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp Street London EC2A 4NU UK www.native-instruments.co.
Table of Contents Table of Contents 1 2 Welcome to MASCHINE ............................................................................................. 25 1.1 MASCHINE Documentation .......................................................................................................... 26 1.2 Document Conventions ............................................................................................................... 27 1.3 New Features in MASCHINE 2.8 .....................................
Table of Contents 2.4 3 MASCHINE Software Overview ..................................................................................................... 65 2.4.1 Header ....................................................................................................................... 66 2.4.2 Browser ..................................................................................................................... 68 2.4.3 Arranger ..............................................................
Table of Contents 3.3.12 Touch Auto-Write Option ............................................................................................ 108 3.4 Native Kontrol Standard ............................................................................................................. 110 3.5 Stand-Alone and Plug-in Mode ................................................................................................... 111 3.6 3.5.1 Differences between Stand-Alone and Plug-in Mode ...................
Table of Contents 3.9 4 Syncing MASCHINE using Ableton Link ....................................................................................... 159 3.9.1 Connecting to a Network ............................................................................................ 159 3.9.2 Joining and Leaving a Link Session ........................................................................... 159 3.10 Using a Pedal with the MASCHINE Controller ........................................................
Table of Contents Auditioning Samples ................................................................................................. 196 4.3.4 Loading Groups with Patterns ................................................................................... 197 4.3.5 Loading Groups with Routing .................................................................................... 198 4.3.6 Displaying File Information .....................................................................................
Table of Contents 5.3 5.4 5.5 6 5.2.2 Pre-listening to Sounds ............................................................................................. 236 5.2.3 Renaming Sound Slots .............................................................................................. 237 5.2.4 Changing the Sound’s Color ...................................................................................... 237 5.2.5 Saving Sounds ......................................................................
Table of Contents 6.1.2 Choosing a Pad Input Mode ....................................................................................... 277 6.1.3 Adjusting the Base Key .............................................................................................. 280 6.1.4 Using Choke Groups .................................................................................................. 282 6.1.5 Using Link Groups ..................................................................................
Table of Contents 7 6.6.1 Pitch Mode ................................................................................................................. 328 6.6.2 Modulation Mode ....................................................................................................... 328 6.6.3 Perform Mode ............................................................................................................ 328 6.6.4 Notes Mode .....................................................................
Table of Contents 7.3 8 9 Using Native Instruments and External Plug-ins ........................................................................ 367 7.3.1 Opening/Closing Plug-in Windows ............................................................................. 367 7.3.2 Using the VST/AU Plug-in Parameters ....................................................................... 370 7.3.3 Setting Up Your Own Parameter Pages ......................................................................
Table of Contents 9.3 9.4 9.5 9.6 9.2.8 Kick – Maple .............................................................................................................. 411 9.2.9 Kick – Push ............................................................................................................... 412 The Snares .................................................................................................................................. 414 9.3.1 Snare – Volt ...................................
Table of Contents 9.7 9.6.2 Percussion – Kettle .................................................................................................... 461 9.6.3 Percussion – Shaker .................................................................................................. 463 The Cymbals ............................................................................................................................... 467 9.7.1 Cymbal – Crash ..........................................................
Table of Contents 11.4 11.5 11.3.2 Editing Events in Step Mode ...................................................................................... 511 11.3.3 Recording Modulation in Step Mode .......................................................................... 513 Editing Events ............................................................................................................................ 514 11.4.1 Editing Events with the Mouse: an Overview ....................................
Table of Contents 11.8 11.7.8 Duplicating, Copying, and Pasting Patterns .............................................................. 571 11.7.9 Moving Patterns ........................................................................................................ 574 11.7.10 Adjusting Pattern Length in Fine Increments ............................................................. 575 Importing/Exporting Audio and MIDI to/from Patterns ..............................................................
Table of Contents 13 Controlling Your Mix .................................................................................................. 646 13.1 13.2 Mix View Basics .......................................................................................................................... 646 13.1.1 Switching between Arrange View and Mix View ......................................................... 646 13.1.2 Mix View Elements ......................................................................
Table of Contents 14.2 14.3 14.4 14.1.2 Other Operations on Effects ....................................................................................... 690 14.1.3 Using the Side-Chain Input ....................................................................................... 692 Applying Effects to External Audio .............................................................................................. 695 14.2.1 Step 1: Configure MASCHINE Audio Inputs ....................................
Table of Contents 15.4 15.3.4 Freq Shifter ................................................................................................................ 743 15.3.5 Phaser ....................................................................................................................... 745 Spatial and Reverb Effects ......................................................................................................... 747 15.4.1 Ice ...........................................................
Table of Contents 15.7.6 Stutter ....................................................................................................................... 792 15.7.7 Tremolo ...................................................................................................................... 795 15.7.8 Scratcher ................................................................................................................... 798 16 Working with the Arranger ............................................
Table of Contents 16.3.4 Selecting Sections and Section Banks ....................................................................... 835 16.3.5 Reorganizing Sections ............................................................................................... 839 16.3.6 Adjusting the Length of a Section .............................................................................. 840 16.3.6.1 Adjusting the Length of a Section Using the Software ...............................841 16.3.6.
Table of Contents 16.6 The Arrange Grid ......................................................................................................................... 858 16.7 Quick Grid ................................................................................................................................... 860 17 Sampling and Sample Mapping .................................................................................. 862 17.1 Opening the Sample Editor .......................................
Table of Contents 17.5.4 Selecting and Editing Zones in the Map View ............................................................ 920 17.5.5 Editing Zones in the Sample View ............................................................................. 924 17.5.6 Adjusting the Zone Settings ...................................................................................... 927 17.5.7 Adding Samples to the Sample Map ..........................................................................
Table of Contents 19.2 Technical Support ....................................................................................................................... 941 19.3 Registration Support .................................................................................................................. 942 19.4 User Forum ................................................................................................................................. 942 20 Glossary .................................
Welcome to MASCHINE 1 Welcome to MASCHINE Thank you for buying MASCHINE! MASCHINE is a groove production studio that implements the familiar working style of classical groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instrument, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.
Welcome to MASCHINE MASCHINE Documentation 1.1 MASCHINE Documentation Native Instruments provide many information sources regarding MASCHINE. The main documents should be read in the following sequence: 1. MASCHINE Getting Started: This document provides a practical approach to MASCHINE via a set of tutorials covering easy and more advanced tasks in order to help you familiarize yourself with MASCHINE. 2.
Welcome to MASCHINE Document Conventions MASCHINE documents are available in PDF. You can also access these documents from the application’s Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized versions of these documents. 1.2 Document Conventions This section introduces you to the signage and text highlighting used in this manual.
Welcome to MASCHINE Document Conventions ▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display. ▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller. ▪ Important names and concepts are printed in bold.
Welcome to MASCHINE New Features in MASCHINE 2.8 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 The unlabeled buttons and knobs on the MASCHINE controller. For better reference, we applied a special formatting here: throughout the document, the elements are capitalized and numbered, so the buttons above the displays are written Button 1 to Button 8, while the knobs under the displays are written Knob 1 to Knob 8. E.g.
Welcome to MASCHINE New Features in MASCHINE 2.8 Improvements to the Browser ▪ Samples are now cataloged in separate Loops and One-shots tabs in the Browser. ▪ Previews of loops selected in the Browser will be played in sync with the current project. When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running.
Welcome to MASCHINE New Features in MASCHINE 2.7.10 1.4 New Features in MASCHINE 2.7.10 The following new features have been added to MASCHINE: New Hardware Support ▪ Support for KOMPLETE KONTROL A-Series keyboards. Audio Plug-in Improvements ▪ Added Edit Tab to Audio plug-in: Like the Sampler plug-in, you can now perform destructive audio edits to loops loaded into the Audio plug-in via the new Edit tab.
Welcome to MASCHINE New Features in MASCHINE 2.7.7 1.6 New Features in MASCHINE 2.7.7 The following new features have been added to MASCHINE: Audio plug-in Improvements ▪ Added a Formant mode to the Audio plug-in which preserves formants when pitching an audio loop up or down. This can be particularly useful when working with vocal material. For more information, refer to ↑8, Using the Audio Plug-in. ▪ The Engine Modes are now listed in order of CPU load, from lowest (Re-pitch) to highest (Formant).
Welcome to MASCHINE New Features in MASCHINE 2.7.4 this mode). When the pencil is on, this enables the same pencil/paint functionality as before (and the mouse will look like a pencil when in this mode). For more information, see ↑11.4.1, Editing Events with the Mouse: an Overview.
Welcome to MASCHINE New Features in MASCHINE 2.7.4 Audio Plug-in Improvements ▪ Added a new Target parameter to the Loop recording mode of the Sampling Page which determines what should be done with a new recording when the recording is complete.
Welcome to MASCHINE New Features in MASCHINE 2.7.4 ▪ Improved the automatic tempo detection of the Audio plug-in so that it now chooses a tempo that’s closest to your current project tempo. For example, if your project tempo is 170 BPM and you load a loop which should be 174 BPM, MASCHINE will now set the Source Tempo as 174 BPM instead of 87 BPM as it did previously.
Welcome to MASCHINE New Features in MASCHINE 2.7.3 ▪ Improved behavior and cursor icons for resizing Events in the Pattern Editor. The active area for resizing Events is increased. 1.8 New Features in MASCHINE 2.7.3 The following new features have been added to MASCHINE: Audio Plug-in Improvements ▪ Added the ability to enable and disable Audio plug-in playback per Pattern when in Loop mode. Double-clicking the waveform will toggle playback for the selected Pattern.
Welcome to MASCHINE New Features in MASCHINE 2.7.3 ◦ Access Logic Mixer via MASCHINE MK3 hardware (Volume, Pan, Mute / Solo states are visible on screens). ◦ Access Essential Controls: Play / Stop / Record / Quantize, Undo / Redo, Automation Toggle, Tap Tempo, and Loop Toggle. General Improvements ▪ Added additional Scales from KOMPLETE KONTROL into MASCHINE. For more details see ↑6.4.2, Selecting a Scale and Creating Chords. ▪ Added loading of Perform FX at the end of a Group plug-in chain.
Quick Reference Using Your Controller 2 Quick Reference This chapter introduces you to the main areas and concepts of MASCHINE. In the following sections, you will find: ▪ Information that will help you in your every-day work with your controller (↑2.1, Using Your Controller). ▪ An overview of a MASCHINE Project and a description of both its structure and content (↑2.2, MASCHINE Project Overview).
Quick Reference Using Your Controller For some of these modes, you need to hold the button to keep the mode active. For example, when you press the SOLO button, the displays will show Solo-specific control options; when you release it, the controller switches back to the previous mode.
Quick Reference Using Your Controller → On the left screen, the PATTERN label under Button 1 gets highlighted. You can release the PATTERN button: The controller will remain in Pattern mode until you press PATTERN again. Once a mode has been pinned your controller will automatically pin the mode next time it is pressed. You can unpin the active mode by pressing Button 1 again.
Quick Reference Using Your Controller You can unpin the Navigate mode by pressing Button 1 (it is pinned by default). When Navigate mode is unpinned, the controller directly switches back to its previous mode when you release the VARIATION button. In some cases, this can be useful to quickly adjust software views without interrupting your workflow. For more information on mode pinning, see ↑2.1.1, Controller Modes and Mode Pinning.
Quick Reference Using Your Controller Action Shortcut Zoom Arranger in/out (Song view only) Knob 1 (Timeline ZOOM) Scroll Arranger left/right (Song view only) Knob 2 (Timeline SCROLL) Zoom Pattern Editor in/out Knob 5 (Pattern ZOOM) Scroll Pattern Editor left/right Knob 6 (Pattern SCROLL) The pads also allow you to adjust scroll and zoom settings: Action Shortcut Scroll Pattern Editor left Pad 1 Scroll Pattern Editor right Pad 3 Zoom out Pattern Editor Pad 2 Zoom in Pattern Editor Pad 6
Quick Reference MASCHINE Project Overview Navigate mode: page navigation. Use Buttons 5–8 above the right display along with the pads to select the desired parameter page: Action Shortcut Select Plug-in (from the Plug-in list) / Select Channel properties (Input, Output, Groove or Macro) Button 5 and 6 Select Page Bank Button 7 and 8 Select parameter page Pads ► 2.2 To exit page navigation, press the lit Button 2 (PAGE NAV).
Quick Reference MASCHINE Project Overview 2.2.1 Sound Content The sound content aspect of a MASCHINE Project includes all the instruments and effects contained in your Project file, and how these are structured. 1 3 2 The sound content aspect of a MASCHINE Project with Ideas view selected. ▪ Groups (1) are available in Banks. Each Bank contains eight Groups (A-H) and each Group contains sixteen Sound slots (1–16) (2). Each Sound slot can be filled with samples or plug-ins.
Quick Reference MASCHINE Project Overview ▪ The Control area has three tabbed sections corresponding to each channel: MASTER, GROUP, and SOUND. ◦ The controls in the SOUND section affect the sound of the selected Sound (1–16). ◦ The controls in the GROUP section affect the sound of the selected Group (A–H), i.e. the sound of all its Sound slots. ◦ The controls in the MASTER section affect the sound at the main outputs of MASCHINE, i.e. the sound of all Groups and all Sounds. 2.2.
Quick Reference MASCHINE Project Overview 1 2 3 4 5 7 6 The Ideas view of a MASCHINE Project optimized for creating Patterns and building Scenes. The workflow of creating ideas in MASCHINE is as follows: ▪ You load samples or plug-ins into the Sound slots (7) of the selected Group (2). ▪ You record instances of your Sounds by playing the pads (1-16). A recorded instance of a Sound is called an event (6). ▪ Together, the events add up to a Pattern (1) for the selected Group.
Quick Reference MASCHINE Project Overview ▪ In the upper half of the software, the Ideas view (4) allows you to combine your Patterns from each Group. ▪ Here you combine your Patterns (1) into Scenes (3). Song view In the Song view Scenes are assigned to Sections and placed on the Timeline of the Arranger, where you can move them around to develop an arrangement. 1 2 The Song view of a MASCHINE Project.
Quick Reference MASCHINE Hardware Overview ▪ Change the position of a Section by dragging the Sections slot. 2.3 MASCHINE Hardware Overview 2.3.1 MASCHINE Hardware Overview This section quickly describes the areas and control elements on your hardware controller.
Quick Reference MASCHINE Hardware Overview 1 2 3 6 4 5 Overview of the MASCHINE controller’s top panel and its main sections. (1) Control section: Use this multi-purpose section to access to all parameters of the mode currently selected on your controller. On the left, dedicated buttons provide access to the Browser, the Arranger, the Mixer and the Sample Editor. For more information on this section, see ↑2.3.1.1, Control Section.
Quick Reference MASCHINE Hardware Overview (2) Edit section: This section holds the 4-D encoder, a multifunctional element to be used in various contexts. Used in combination with the 4-D encoder, the three Quick Edit buttons nearby allow you to easily adjust the volume, tempo and swing of your Sounds, Groups and Project. In Step mode they let you quickly adjust the velocity, position and tune of the selected events(s). For more information on this section, see ↑2.3.1.2, Edit Section.
Quick Reference MASCHINE Hardware Overview 1 2 3 4 5 6 12 13 7 8 9 10 11 14 The Control section on your controller. (1) CHANNEL button: Press CHANNEL to switch to Control mode (the default mode on your controller) and directly display the Channel properties of the selected Sound/Group or the Master. This provides instant access to all Channel properties’ parameters via the eight Buttons and eight Knobs above and under the displays.
Quick Reference MASCHINE Hardware Overview (3) ARRANGER button: Press ARRANGER at any time to get an overview of your Project. In Ideas view you can view your Scenes and Patterns, in Song view you can edit your Sections, Scenes and Patterns to create the perfect arrangement. See the tutorials in Creating Scenes and Creating an Arrangement. (4) MIXER button: Press MIXER at any time to access an overview of your mix. Use the Mix view to, e.g., quickly edit the level and panning of each Sound and Group.
Quick Reference MASCHINE Hardware Overview (11) MACRO button: The MACRO button provides instant access to the properties of the channel’s Macro Controls”). This shortcut can greatly facilitate both reactivity and improvisation when performing live. Press SHIFT + MACRO (Set) to define new Macros in a quick and easy way, directly from your controller. For more information on the Macro Controls, refer to the section: Using Macro Controls.
Quick Reference MASCHINE Hardware Overview (2)–(4) Quick Edit buttons: Enable either VOLUME, SWING, or TEMPO to quickly adjust the volume, swing, or tempo of your Project via the 4-D encoder (1). These buttons are mutually exclusive: Only one can be active at any time. When VOLUME, SWING or TEMPO is active (lit), hold a pad or a Group button and turn the 4-D encoder (1) to change the volume, swing or tune for that individual Sound or Group, respectively.
Quick Reference MASCHINE Hardware Overview ing to both the pads you hold and the scale and chords you have configured. As a shortcut, when your pads are in Group mode press SHIFT + NOTE REPEAT (Arp) to directly switch your pads in Keyboard mode and activate the Arp engine. The Note Repeat / Arp mode can be pinned: Press NOTE REPEAT + Button 1 to pin/unpin the mode. For a practical example of use, see Using Note Repeat.
Quick Reference MASCHINE Hardware Overview If no Strip Mode button is active, the Smart Strip is disabled. 2.3.1.4 Group Section The eight dedicated Group buttons, labeled A to H, provide instant access to the Groups. The Group buttons on your controller. Press any Group button to select the Group you want to work in.
Quick Reference MASCHINE Hardware Overview 4 5 6 7 1 2 3 8 The Transport section on your controller. (1) PLAY button: Press PLAY to activate playback. Press PLAY a second time to stop playback. (2) REC button: When playback is on, press REC to begin recording. Or when playback is off, press SHIFT + REC to begin recording with the Count-in. Press REC a second time to stop recording.
Quick Reference MASCHINE Hardware Overview various MASCHINE objects can be moved or resized: Perform grid (for transitions between Sections), Arrange grid (for Pattern length and Section length), Step grid (for events), and Nudge grid (for events as well). (8) SHIFT button: While the most important features are accessible through dedicated buttons, many shortcuts are available by holding the SHIFT button and pressing pads 1–16 or several other buttons.
Quick Reference MASCHINE Hardware Overview 14 10 11 12 13 8 7 6 5 9 4 3 2 1 The Pad section on your controller: the Mode buttons (1) to (8), the pads (9), and the Pad Input Mode buttons (10) to (14). Mode Buttons The Mode buttons (1) to (8) are located in the column left of the pads.
Quick Reference MASCHINE Hardware Overview (2) SOLO button: Enters Solo mode. In this mode, you can instantly solo any Sound or Group (equals muting all other Sounds/Groups) by pressing its pad or Group button. This is useful to tweak the Sound or for performing live. The pad of the soloed Sound or Group is fully lit, while all other pads (representing the muted Sounds/Groups) are dimmed. (3) SELECT button: Enters Select mode.
Quick Reference MASCHINE Hardware Overview ▪ Use Scene mode to create, select and manage Scenes to prepare them for assignment to Sections in the Arranger. During playback, you can switch Scenes for quick on-the-fly arrangement by pressing the pads; half-lit pads show existing Scenes, while fully lit pads show the selected Scene. When you are satisfied with a Scene you can append it to the Arranger. ▪ Use Section mode to create, select, and manage Sections in order to create an arrangement.
Quick Reference MASCHINE Hardware Overview ment. The right display shows you the pitch triggered by each pad. You can use Buttons 5–8 to adjust the Root Note (triggered by pad 1), and Knobs 1–4 to configure the Scale engine and limit the available pitches to a particular scale.
Quick Reference MASCHINE Hardware Overview play or program complex drum fills. The right display indicates the velocity values for each pad. The pitch of the played note is defined by the Base Key. The 16 Velocities option is only available in Group mode, i.e. when PAD MODE (10) is enabled. 2.3.1.7 Rear Panel The rear panel of the MASCHINE controller holds the various hardware switches, knobs and sockets of the integrated audio interface, power supply, and USB connection.
Quick Reference MASCHINE Hardware Overview (6) MIC IN socket: Balanced input socket for plugging in dynamic microphones with a 1/4" TRS jack. When a microphone is plugged into the socket, the LINE IN 1 and 2 sockets (7) are disabled. (7) LINE IN 1 and 2 sockets: Pair of balanced 1/4" TRS input sockets accepting any line level signal (e.g., a synthesizer or mixer output). In your music software they will appear as 1: Input Left and 2: Input Right.
Quick Reference MASCHINE Software Overview 2.4 MASCHINE Software Overview 1 3 4 2 5 The MASCHINE software. (1) Header: The Header contains the main controls for the MASCHINE software including the Display area, the Transport controls, and the Master Volume slider. You can also use this area to toggle the Browser, toggle the Mixer view, connect to your hardware controller and monitor the CPU usage of your computer.
Quick Reference MASCHINE Software Overview (4) Control area: The Control area allows you to control parameters and settings for each of the Plug-in slots at each Project level (Sound, Group and Master). This area can hold settings for Groups, Sounds, Plug-ins (internal or VST/AU plug-ins), MIDI, routing. (5) Pattern Editor: The Pattern Editor features both step programming and real-time recording and is the basis for each Pattern.
Quick Reference MASCHINE Software Overview (5) Display area: The Display area provides control regarding Ableton Link, time signature, tempo, global swing, Follow and Performance Grid (Including Retrigger) (6) Controller icon: This area displays an icon each MASCHINE controllers connected to your computer. (7) Master Volume slider: Shows and adjusts the level of the MASCHINE audio output.
Quick Reference MASCHINE Software Overview 2.4.2 Browser 2 1 3 4 5 6 7 8 9 10 11 12 The Browser. (1) Library tab: Use the Library tab to access your computer's hard drives via MASCHINE's selectors and filters. (2) Files tab: Use the Files tab to access your computer’s hard drives.
Quick Reference MASCHINE Software Overview (3) File Type selector: This contains seven icons representing the different file types of MASCHINE. From left to right the file types are: Projects, Groups, Sounds, Instruments, Effects, Loops and One-shots. Clicking one of them causes only the files of the selected type to be displayed. (4) Content selector: Use the Content selector to switch between Factory Content (button off) and User Content (button on).
Quick Reference MASCHINE Software Overview Use the +PATTERNS button to load a Group with its saved Pattern. When +PATTERNS is selected the Sounds and Patterns of the selected Group are loaded. When +PATTERNS is deselected, only the Sounds of the selected Group are loaded so you can try them with your existing pattern. (11) Information: Click the Information icon to view details of the selected file. (12) Tag Editor: Use the Tag Editor to edit Tags applied to files and to add Tags to new files.
Quick Reference MASCHINE Software Overview The Ideas View 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your project. After creating a Scene by clicking the + symbol, you can build the Scene by selecting a Pattern from each Group. By clicking each Scene name (Scene slot) you can switch between Scenes to see how your musical ideas work together.
Quick Reference MASCHINE Software Overview The Song view 1 2 3 4 The Song view for organizing your musical ideas into a song on the Timeline. (1) Groups: The Group slots can hold one Group each. Select the desired slot to load a Group into it and display the Group’s content (Sounds, Patterns…) in the Pattern Editor (see ↑2.4.5, Pattern Editor) and the Group’s Channel properties and Plug-in parameters in the Control area (see ↑2.4.4, Control Area).
Quick Reference MASCHINE Software Overview 2.4.4 Control Area 2 3 4 5 6 7 1 8 The Control area. (1) Plug-in icon: Click the Plug-in icon to access Plug-ins and their parameters. (2) Channel icon: Click the Channel icon to access Channel properties where you can display and adjust various properties for the selected Sound/Group or Master channel in the Parameter area. (3) MASTER tab: Click the MASTER tab to control sound at the main outputs of MASCHINE (including all Groups and Sounds).
Quick Reference MASCHINE Software Overview 2.4.5 3 Pattern Editor 4 5 6 7 8 9 10 2 1 11 12 14 13 The Pattern Editor. (1) Sample Editor button: Click this button to open/close the Sample Editor. (2) Keyboard view button: Click this button to display the Keyboard view. (3) Group view button: Click this button to display the Group view. (4) Audition button: Click this button to audition a Sound when it is selected from the Sound slots (6).
Quick Reference MASCHINE Software Overview (6) Sound slots: Sounds slots 1–16 of the selected Group are listed here. Click a Sound slot to bring it into focus and display its Plug-ins and Channel properties in the Control area (see ↑2.4.4, Control Area). In Keyboard view (2), click a Sound slot to display its events in the Step Grid (11). (7) Pattern slots: Each Group has an unlimited number of Patterns available. Each Pattern slot can hold one Pattern.
Basic Concepts Important Names and Concepts 3 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. 3.1 Important Names and Concepts We will start with a list (in alphabetical order) of the most important concepts and names.
Basic Concepts Important Names and Concepts routing system also allows you to create send effects, multi-effects, and side-chains. For more details on using effects in MASCHINE, refer to chapter ↑14, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑15, Effect Reference. 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.
Basic Concepts Important Names and Concepts 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 Sound Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any number of Plug-ins. Each Sound of the selected Group is mapped to one of the 16 pads on the hardware controller, so you can play the Sounds by pressing the pads. Refer to chapter ↑5, Managing Sounds, Groups, and Your Project for more information on Sounds. Please refer to chapter ↑20, Glossary at the end of this Manual for more definitions. 3.
Basic Concepts Adjusting the MASCHINE User Interface The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]). 3.2.2 Switching between Ideas View and Song View At any time you can quickly switch between the Ideas view and the Song view, using the Arranger View button. The Arranger View button in the top left corner. ► Press the Arranger view button to toggle between Song view and Ideas view.
Basic Concepts Adjusting the MASCHINE User Interface Switching between Ideas View and Song View using the Controller On your controller: 1. Press SHIFT + ARRANGER. 2. Press SHIFT + Button 1 to access Ideas view 3. Press SHIFT + Button 2 to access Song view. → The software switches between Ideas view and Song view. 3.2.3 ► Showing/Hiding the Browser Click the Browser button (with the magnifier symbol) in the Header to show and hide the Browser.
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. 3.3 Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations. 3.3.1 Using the 4-Directional Push Encoder The 4-Directional Push Encoder (referred to as the Encoder) combines the functionalities of a conventional joystick, of a button, and of a continuous encoder.
Basic Concepts Common Operations The Encoder situated to the left of the VOLUME, SWING and TEMPO buttons. Depending on the menu or context, the available actions differ: ▪ The displays are navigated by moving the 4-D encoder in a direction indicated by the surrounding LEDs. ▪ Entries in a list are browsed by turning the 4-D encoder. ▪ The value of a highlighted parameter is adjusted by turning the 4-D encoder. ▪ A selection is confirmed by pushing the 4-D encoder. 3.3.
Basic Concepts Common Operations But in some situations you might want to release the mode button of a temporary mode without leaving that mode, e.g., to free your hand and tweak other controls more easily. For this purpose, MASCHINE lets you pin (or “lock”) temporary modes so that they behave like permanent modes. ► To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN, etc.) + Button 1 above the left display. → Now the mode is always pinned when you select it.
Basic Concepts Common Operations ► To adjust the overall output level, click and drag the Master Volume slider located on the right part of the Header, at the top of the window. Use the Master Volume slider in the Header to adjust the overall volume of MASCHINE. You can also use Mix view to adjust your Sound and Group levels. Mix view gives you quick access to the level and routing settings of all your Sounds, Groups, and the Master.
Basic Concepts Common Operations 3.3.3.2 Adjusting Volume, Swing, Tempo and Tune on Your Controller Adjusting Volume ► Press the VOLUME button near the 4-D encoder. → The VOLUME button lights up. You can now adjust the volume for your overall Project, for each Group, and for each Sound individually using the 4-D encoder: ▪ To adjust the overall volume, turn the 4-D encoder. Hold SHIFT to adjust the value in finer increments.
Basic Concepts Common Operations Adjusting Tempo/Tune ► Press the TEMPO button. → The TEMPO button lights up. You can now adjust the tempo of your Project as well as the tune for each Group and for each Sound individually using the 4-D encoder: ▪ To adjust the tempo, turn the 4-D encoder. Hold SHIFT to adjust the value in finer increments. ▪ To adjust the tune of a particular Group, press and hold its Group button (A–H) and turn the 4-D encoder. Hold SHIFT to adjust the value in finer increments.
Basic Concepts Common Operations 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. In the software use the following keyboard shortcuts for the Step Undo and Step Redo functions: ► To cancel your last action (Step Undo), press [Ctrl]+[Shift]+[Z] ([Cmd]+ [Shift]+ [Z] on macOS). To re-execute your last action (Step Redo), press [Ctrl]+ [Shift]+ [Y] ([Cmd]+ [Shift]+ [Y] on macOS).
Basic Concepts Common Operations 2. To redo a take, press SHIFT + pad 2 (REDO). 3. To undo a step, press SHIFT + pad 3 (STEP UNDO). 4. To redo a step, press SHIFT + pad 4 (STEP REDO). 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). 3.3.
Basic Concepts Common Operations Touch the Knob under a selector (here the MODE parameter under the left display) to open a list with the values available for selection. The list is displayed as long as you touch or turn the corresponding Knob. When you release the Knob, the list disappears after a short delay. Only one list can be displayed at a time. If you actuate two or more Knobs that control selectors, only the list for the last-touched Knob will be shown. 3.3.
Basic Concepts Common Operations When you touch any of the Knobs 5–8, little icons appear above the Knobs used for zooming/scrolling in the display. 3.3.7 Focusing 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. Setting the focus on a Sound or Group is slightly different than selecting it: The focus defines what will be displayed, whereas the selection defines what will be affected by your edits.
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 ↑5.1.
Basic Concepts Common Operations 1. Set the focus to the Group containing the desired Sound by clicking it in the Group List on the left of the Arranger (see above). The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group. 2. Click the desired Sound slot in the Sound List of the Pattern Editor: → The focused Sound slot is highlighted. The focused Sound slot is highlighted.
Basic Concepts Common Operations If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden Sounds. You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3, Selecting Multiple Sounds or Groups for more information. Focusing on a Group using the Hardware 1.
Basic Concepts Common Operations 3.3.8 Switching Between the Master, Group, and Sound Level At any time you can quickly switch the Control area between the parameters of the Master, the focused Group, and the focused Sound. Click the desired tab to switch the display of the Control area. ► Click the MASTER, GROUP or SOUND tab in the top left corner of the Control area to display the Plug-in parameters or Channel properties of the Master, the focused Group or the focused Sound, respectively.
Basic Concepts Common Operations 3.3.9 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area We describe here how to display/edit any Plug-in parameters or Channel properties located in any Sound, Group or the Master. To select a particular Plug-in or a particular set of Channel properties, you first need to display the parameters of the Master, the desired Group or Sound. 1.
Basic Concepts Common Operations 2. Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selector to select that set of Channel properties. → The selected button is highlighted and the parameters of the selected Channel properties appear in the Parameter area (the right and biggest part of the Control area). Selecting a Plug-in 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins: The icon lights up.
Basic Concepts Common Operations In the software the names of the available pages are displayed at the top of the Parameter area. The name of the page currently displayed is highlighted. ► Click the desired page name at the top of the Parameter area to show the corresponding Parameter page. The Parameter pages of the Sound’s Output properties: Audio (currently displayed), Aux, and MIDI.
Basic Concepts Common Operations Element Action Knob: Click the knob and drag your mouse vertically to change the parameter value. Hold [Shift] on your computer keyboard and drag your mouse to adjust the value in finer increments. Button: Click the button to switch its state. When the button is enabled, it shows a small colored LED. Selector: Click the displayed value to open the drop-down list, and click another value in the list to select it.
Basic Concepts Common Operations 5. Use the Page buttons left of the displays to navigate through the Parameter pages of the selected Channel properties or Plug-in: Moreover, if there is another page available to the left or to the right of the current page, the corresponding Page button will be half lit on your controller. 6. Use Knobs 1–8 under the displays to adjust the value of the parameters available on the selected page.
Basic Concepts Common Operations Using the Navigate Mode Alternatively, you can also navigate Channel properties and Plug-ins along with their Parameter pages via the Navigate mode of your controller: 1. Press SHIFT + VARIATION (Navigate) to enter Navigate mode (or pin it by pressing NAVIGATE + Button 1). 2. Hold SHIFT + VARIATION (Navigate), then Button 2 (PAGE NAV) to enter Page Navigation mode. 3.
Basic Concepts Common Operations ▪ The default Software Navigation mode lets you adjust the look of the software interface: You can show/hide specific elements and change zoom/scroll settings. ▪ The Page Navigation mode allows you to navigate Channel properties, Plug-ins along with their Parameter pages.
Basic Concepts Common Operations The Page Navigation mode allows you to navigate the Parameter pages available in the Channel properties and Plug-ins of the various channels (Sounds, Groups, and Master) in your Project. To access Page Navigation mode: ► Hold SHIFT + VARIATION (Navigate), then Button 2 (PAGE NAV) to enter Page Navigation mode.
Basic Concepts Common Operations → After selecting a Plug-in, the available pages are displayed in the software, and on the right-hand display of your controller. The right-hand display provides an overview of the available pages for the selected Channel or Plug-in. ► To access each page of the selected Channel or Plug-in, press pads 1–16. → After pressing a pad the selected page is displayed in the software, and on the controller when you exit Navigation mode by pressing the NAVIGATE button.
Basic Concepts Common Operations Action Shortcut Scroll Arranger left Press pad 9 Scroll Arranger right Press pad 11 Zoom in (Arranger) Press pad 14 Zoom out (Arranger) Press pad 10 3.3.11 Using Two or More Hardware Controllers If two or more MASCHINE controllers of different types are connected to your computer, only one controller can be used to control the MASCHINE software at a time.
Basic Concepts Common Operations Click the MASCHINE menu and select the controller you want to use. Hardware On the controller you want to use with the MASCHINE software, do the following: ▪ MASCHINE (MK3) controller: Press SHIFT + PLUG-IN, turn the 4-D encoder to select the desired instance, and press the 4-D encoder or Button 4 to load it. ▪ MASCHINE STUDIO controller: Press SHIFT + PLUG-IN, turn the jog wheel to select the desired instance, and press the jog wheel or Button 8 to load it.
Basic Concepts Common Operations ▪ KOMPLETE KONTROL Keyboard MK1: Press INSTANCE and turn the Control encoder to select the desired instance, and press the Control encoder to load it. ▪ KOMPLETE KONTROL Keyboard MK2: Press INSTANCE and turn the 4-D encoder to select the desired instance, and press the 4-D encoder to load it. 3.3.12 Touch Auto-Write Option Modulation recording also benefits from the touch sensitivity of Knobs 1–8 via the Touch Autowrite option.
Basic Concepts Common Operations The Touch Auto-write check box in the Hardware page of the Preferences panel. ► To enable or disable the Touch Auto-write option, click the Touch Auto-write check box in the Touch-Sensitive Knobs section of the Hardware page in the Preferences panel. To access the Touch-Sensitive Knobs section in the Hardware page, your MASCHINE controller must be connected to your computer and controlling the MASCHINE instance.
Basic Concepts Native Kontrol Standard ▪ With Touch Auto-write disabled (and in previous MASCHINE versions), you have to constantly rotate the Knob to ensure that the old modulation events are actually replaced by the new ones. To simulate a new constant modulation value, you had no other choice than slightly rotate the Knob incessantly around the desired value.
Basic Concepts Stand-Alone and Plug-in Mode Installing KONTAKT Instruments with NKS Support Third-party developers of KONTAKT instruments provide you with a folder that contains all instrument files, including presets and samples. Instead of running an installer, this folder needs to be stored on the hard drive. The instrument can then be activated with Native Access, which also adds it to the MASCHINE and KOMPLETE KONTROL Libraries.
Basic Concepts Stand-Alone and Plug-in Mode 3.5.1 Differences between Stand-Alone and Plug-in Mode Transport Functions The most noticeable difference between the stand-alone and plug-in mode of MASCHINE relates to the interaction with MASCHINE’s sequencer. Indeed, when MASCHINE is used as a plug-in within a host sequencer software (e.g., Cubase or Pro Tools), MASCHINE’s sequencer is exclusively controlled by the host application: you cannot, e.g.
Basic Concepts Stand-Alone and Plug-in Mode ▪ How to route MASCHINE to multiple outputs in Cubase: http://www.native-instruments.com/knowledge/questions/1707 ▪ How to route MASCHINE to multiple outputs in Pro Tools: http://www.native-instruments.com/knowledge/questions/1709 ▪ How to route MASCHINE to multiple outputs in Logic Pro: http://www.native-instruments.com/knowledge/questions/1711 For all details on the audio and MIDI configuration of your host application, please refer to its documentation.
Basic Concepts Stand-Alone and Plug-in Mode 1. Press SHIFT + PLUG-IN. 2. Turn the 4-D encoder to select an instance. 3. Press the 4-D encoder to load that instance. 3.5.3 Controlling Various Instances with Different Controllers You can use two or more MASCHINE controllers of different types (MASCHINE STUDIO, MASCHINE MK3, MASCHINE MK2, MASCHINE MIKRO MK2, MASCHINE, and MASCHINE MIKRO) simultaneously with different instances of the MASCHINE software (possibly with one instance in stand-alone mode).
Basic Concepts Host Integration 3.6.1 Setting up Host Integration MASCHINE integrates with a number of hosts to facilitate a fluent workflow for performing and recording music with your MASCHINE Library. 3.6.1.1 Setting up Ableton Live (macOS) Ableton Live must be configured for advanced integration with MASCHINE. Installing the MIDI Remote Script The MIDI Remote Script allows Ableton Live to recognize MASCHINE as a control surface. It must be copied into Live’s MIDI Remote Scripts directory: 1.
Basic Concepts Host Integration 3.6.1.2 Setting up Ableton Live (Windows) Ableton Live must be configured for advanced integration with MASCHINE. Installing the MIDI Remote Script The MIDI Remote Script allows Ableton Live to recognize MASCHINE as a control surface. It must be copied into Live’s MIDI Remote Scripts directory: 1. Ensure that Ableton Live is not running. 2. Navigate to the following folder: C:\Program Files\Common Files\Native Instruments\Host Integration\Ableton Live\ 3.
Basic Concepts Host Integration ► When the message OSC app “Maschine” wants to connect to Logic Pro X appears on screen, click OK. The MASCHINE stand-alone application must be opened once before using the plug-in within your DAW for the first time, and after installing new Instruments. 3.6.2 Integration with Ableton Live If you own Ableton Live, you can control many of its functions directly from the MASCHINE. The available functions are mapped to sections of the controller as listed below.
Basic Concepts Host Integration Edit Control Action in Ableton Live Control via MASCHINE Undo action SHIFT + Pad 1 (Undo) Redo action SHIFT + Pad 2 (Redo) Toggle automation for selected Track on/off AUTO Arranger Control Action in Ableton Live Control via MASCHINE Select previous/next Track Move 4-D encoder left/right Select previous/next Clip Slot in Track 4-D encoder down/up Start/stop selected Clip SHIFT + push 4-D encoder Mixer Control Action in Ableton Live Control via MASCHINE Selec
Basic Concepts Host Integration Misc. Control Action in Ableton Live Control via MASCHINE Select previous/next Clip Move 4-D encoder up/down Launch focus Clip/Launch focus Scene Push 4-D encoder Stop focus Clip/Stop focus Scene SHIFT + Push 4-D encoder 3.6.3 Integration with Apple Logic Pro X If you own Apple Logic Pro X, you can control many of its functions directly from the MASCHINE. The available functions are mapped to sections of the controller as listed below.
Basic Concepts Preferences Edit Control Action in Apple Logic Pro X Control via MASCHINE Undo action SHIFT + Pad 1 (Undo) Redo action SHIFT + Pad 2 (Redo) Quantize to grid value SHIFT + Pad 5 (Quantize) Toggle automation for selected Track on/off AUTO Arranger Control Action in Apple Logic Pro X Control via MASCHINE Select previous/next Track Move 4-D encoder left/right Mixer Control Action in Apple Logic Pro X Control via MASCHINE Select a Track Button 1–8 Coarse adjust volume/panorama o
Basic Concepts Preferences ► To open the Preferences panel, click Preferences… in the Maschine menu (macOS) 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 ↑3.7.1, Preferences – General Page. ▪ Audio: see ↑3.7.2, Preferences – Audio Page. ▪ MIDI: see ↑3.7.
Basic Concepts Preferences ► To display the General page, click the General tab on the left of the Preferences panel. The Preferences – General page. Setting Description Startup Reload Last Project Click this checkbox to automatically reload the last Project on startup.
Basic Concepts Preferences Setting Description 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 ↑3.7.4, Preferences – Default Page). Metronome Enabled Check this box to activate the metronome.
Basic Concepts Preferences Setting Description Count-in Length Select the duration of the Count-in, i.e. how long the metronome will sound before the recording actually starts. Link Enabled Click the checkbox to enable the Link protocol by default. Applications that support Ableton Link can join a Link session when connected to the same network. For more information on Link please refer to section: ↑3.9, Syncing MASCHINE using Ableton Link.
Basic Concepts Preferences Setting Description Usage Data Tracking Allow usage data tracking Here you can select to enable or disable Usage Data Tracking. Usage Data Tracking technology enables MASCHINE to automatically track anonymous usage data that you can choose to share with us. All users should keep Data Tracking enabled as it provides a valuable tool for understanding the performance of Native Instruments applications when they are used in real life situations.
Basic Concepts Preferences ▪ Press Button 5 (METRONOME) to enable the Metronome. ▪ Press Button 6 (LINK) to enable Ableton Link. ► To save your settings and return to MASCHINE mode, press SETTINGS. For more information on using Link refer to: ↑3.9, Syncing MASCHINE using Ableton Link. 3.7.2 Preferences – Audio Page The Audio page holds settings related to your audio interface.
Basic Concepts Preferences Preferences – Audio page. Setting Description Interface Driver Select your audio driver from the drop-down menu. Device Select the available devices if you have more than one audio interface connected.
Basic Concepts Preferences Setting Description Status This confirms whether your audio interface is currently running. Sample Rate This displays the selected sample rate of your audio interface. Restart MASCHINE after changing the sample rate. ASIO Config (Windows only) Click Open Panel to access specific controls related to your audio interface. Please consult the documentation that came with your audio interface for more information.
Basic Concepts Preferences Setting Description Input Click Inputs to display the Routing Inputs. Here you can select which inputs on your audio interface should be used for the four stereo inputs of MASCHINE. Select the inputs of your audio interface on the right column by clicking the fields: you will be presented with a drop-down menu with all the available Inputs. The choices made here will determine which inputs can be used when sampling external sources, for example.
Basic Concepts Preferences ▪ Turn Knob 1 (DRIVER) to select an audio driver. ▪ Turn Knob 2 (DEVICE) to select an alternative audio device. ▪ Turn Knob 3 (SAMPLE RATE) to select a sample rate. ▪ Turn Knob 4 (BUFFER SIZE) to adjust the buffer size. Page 2: Input Routings Input routing is configured on page 2 of the Audio preferences. To configure the Input routing for the selected audio interface: ▪ Use the page buttons to select page 2: Input Routing.
Basic Concepts Preferences The Preferences – MIDI page.
Basic Concepts Preferences Setting Description Sync Mode Click the drop-down menu to set the MIDI Sync mode preference for MASCHINE: Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groove box, or even another software sequencer.
Basic Concepts Preferences Setting Description Outputs Click Output to display a list of all the available MIDI outputs of your system. You can activate/deactivate each output by clicking the fields in the Status column, which displays the current status of the corresponding port. Adjusting MIDI Preferences Using the Controller You can access the MIDI preferences directly from the controller. The options found here are a replica of those found in the software.
Basic Concepts Preferences The Preferences – Default page.
Basic Concepts Preferences Setting Description Project Standalone Here you can select a Project to load automatically when you start a new Project in MASCHINE used as a stand-alone application. The field displays the location of the Template Project selected for use. Click the folder icon to select another Template Project.
Basic Concepts Preferences Setting Description Duplicate Select from the drop-down menu how the Duplicate function in MASCHINE will operate when duplicating Scenes. Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated. The new Scene and Patterns are now completely independent from the originals.
Basic Concepts Preferences Setting Description Sound Default MIDI Input Mode MASCHINE allows you to play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound. In addition, you can select that a Sound receives no MIDI input, and also define the default setting for MIDI input by selecting the Default MIDI Input Mode preference.
Basic Concepts Preferences The Preferences panel – the Library page’s Factory pane. The Factory pane displays all factory libraries available. These includes the MASCHINE Factory Library, libraries imported from other NI products, as well as installed MASCHINE EXPANSIONS. These libraries will appear in the Factory view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Product column Displays the name of each product. These names cannot be edited. Rescan button If you have made any change to a library (e.g., changed its location), select it in the list and click the Rescan button to rescan that library.
Basic Concepts Preferences The Preferences panel – the Library page’s User pane. The User pane displays all user libraries currently in use. This includes the standard MASCHINE user directory as well as any other user directory you might have defined. These libraries will appear in the User view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Alias column Displays the alias stored for each library. Click an alias to edit it. Defining aliases for your user folders is not mandatory, but it can be of great help when working on different computers (see description below).
Basic Concepts Preferences The User Content folder can neither be renamed nor removed from the list. You can modify its path in the Location column. Standard User Directory Cannot Be Removed The Standard User Directory can neither be renamed nor removed from the list in the User pane of the Library page in the Preferences panel. You can modify its path in the Location column.
Basic Concepts Preferences ► Click CANCEL in the Updating Database dialog to interrupt the scan. A Cancel Rescan dialog opens up asking you to confirm that you want to cancel the scan: The dialog warns you that cancelling the scan may lead to inconsistencies or missing items in your MASCHINE Library. ▪ If you still want to cancel the scan, click CANCEL RESCAN at the bottom right, and the scan will be cancelled.
Basic Concepts Preferences Adding Folders to the User Library In the User pane of the Library page, you can add other folders to the user content of your MASCHINE Library. To do this: 1. Click Add at the bottom of the pane. A folder selection dialog opens up. 2. In the dialog, navigate to the desired folder on your computer and click OK (Choose on macOS). → All MASCHINE-compatible files found in the selected folder are added to your user content in MASCHINE.
Basic Concepts Preferences Please note that the selected folder cannot contain, or be contained within, a folder already listed in the User or Factory pane. If MASCHINE detects such a folder as you press OK (Choose on macOS) in the folder selection dialog, a Duplicate Location message appears: Click OK to return to the folder selection dialog and select another folder on your computer. Removing Folders from the User Library You can also remove any user folder from your Library — except the default user.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane.
Basic Concepts Preferences Element Description Plug-in column Lists all available VST/AU plug-ins from the directories specified in the Locations pane (see below). This includes all enabled or disabled 32-bit VST/AU plug-ins, when MASCHINE is running in 32-bit mode or otherwise all enabled or disabled VST/AU 64-bit plug-ins, when MASCHINE is running in 64-bit mode. On the left of each plug-in in the list, a checkbox allows you to enable/disable this plug-in in MASCHINE.
Basic Concepts Preferences Manager Pane: Use NI Audio Units Checkbox (macOS Only) On macOS, the Manager pane contains an additional Use NI Audio Units checkbox.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. The Locations pane also contains the following controls: Element Description Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon on the left of an entry to change the path of that plug-in directory. Add button Click Add to add plug-in directories.
Basic Concepts Preferences Element Description Remove button Click Remove to remove the selected directory. Rescan button If you have changed the content of a directory (such as installed or removed plug-ins), you should rescan your plug-in directories in order to keep the list of available plug-ins up to date.
Basic Concepts Preferences The Preferences panel – Hardware page.
Basic Concepts Preferences Setting Description Controller The Controller menu allows you to select a connected device and modify its settings. You can have two devices simultaneously focused on a MASCHINE instance: a controller from the MASCHINE family and a KOMPLETE KONTROL SSERIES keyboard. After a new device has been selected from the Controller menu, the Hardware page will update to display the available options.
Basic Concepts Preferences Setting Description Touch Auto-write Use the Touch Auto-write checkbox to enable or disable the Touch Auto-write option. Touch Auto-write can be very useful if you want to re-record modulation for a parameter, at a constant value. With Touch Auto-write enabled, you only need to keep a finger on a parameter Knob (1–8): The current modulation value is recorded as long as you touch the Knob, automatically replacing any old modulation events at the position in the Pattern.
Basic Concepts Preferences ▪ Turn Knob 6 (AUTO-WRITE) to enable or disable the Touch Auto-write option. ► To save your settings and return to MASCHINE mode, press SETTINGS. 3.7.8 Preferences – Colors Page The Colors page enables you to choose default colors for your Scenes, Groups, and Sounds. ► To display the Colors page click the Colors tab on the left of the Preferences panel. The Preferences panel – Colors page.
Basic Concepts Preferences Setting Description Scene Default Select the default color for your Scenes. In the menu, you can select the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color. Group Default Select the default color for your Groups. In the menu, you can choose the desired color from the 16-color palette.
Basic Concepts Integrating MASCHINE into a MIDI Setup 3.8 Integrating MASCHINE into a MIDI Setup You can quickly integrate MASCHINE into a MIDI setup. You can use MIDI in MASCHINE in various ways. Notably: ▪ You can synchronize a MIDI Clock signal between MASCHINE and other MIDI devices: ↑3.8.2, Sync to External MIDI Clock and ↑3.8.3, Send MIDI Clock. ▪ If you connect a MIDI keyboard to the MIDI IN, you can directly play the focused Sound with it without having to set anything up.
Basic Concepts Integrating MASCHINE into a MIDI Setup 2. If MASCHINE is running as a stand-alone application, activate the corresponding MIDI input and/or output(s) of your MASCHINE controller in the MIDI page of the Preferences panel (see ↑3.7.3, Preferences – MIDI Page). 3. If MASCHINE is running as a plug-in in a host application, the MIDI configuration is managed by the host (see section ↑3.5, Stand-Alone and Plug-in Mode).
Basic Concepts Integrating MASCHINE into a MIDI Setup If you want to configure MASCHINE to react to other MIDI messages than MIDI Clock, in particular if you want to control MASCHINE notes and parameters via MIDI, please refer to section ↑12.2, Using MIDI Control and Host Automation, where this is described in detail. 3.8.3 Send MIDI Clock If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock.
Basic Concepts Syncing MASCHINE using Ableton Link 3.9 Syncing MASCHINE using Ableton Link Ableton Link is a protocol that synchronizes beat, phase and tempo of Link-enabled applications on the same computer or over a shared network. This means you can conveniently keep applications synchronized across different devices or join a group jam with others with minimal setup.
Basic Concepts Using a Pedal with the MASCHINE Controller After clicking the Play button, playback will resume on the downbeat once the moving bar within the LINK button is filled. The first participant to join the session sets the initial tempo, from then on any participant in the session can change the tempo in their respective application. If multiple participants change the tempo at the same time, the last tempo change will take effect. To start or join a Link session, proceed as follows: 1.
Basic Concepts File Management on the MASCHINE Controller The pedal input on the rear panel of your controller. The PEDAL socket allows you to use a pedal footswitch to control the transport in MASCHINE. A single footswitch with two pedals can be used to control the transport in the following way: ▪ Pedal 1: Starts/stop the playback in MASCHINE. This is equivalent to the PLAY button on your controller and the Play button in the software’s Header. ▪ Pedal 2: Engage/disengage recording in MASCHINE.
Basic Concepts File Management on the MASCHINE Controller File Management Option Description NEW Creates a new Project file. If you already have a project open, you will be prompted to save or discard it, after which a new Project will be created. SAVE AS Allows you to save the current Project with an alternative name. SAVE COPY Quickly allows you save a copy of the current Project with a numerical iteration automatically added to the file name.
Browser Browser Basics 4 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. 4.1 Browser Basics This section describes some general concepts about the Browser. 4.1.
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 ↑4.2, Searching and Loading Files from the Library, and the Files tab is described in section ↑4.6, Loading and Importing Files from Your File System. 4.2 Searching and Loading Files from the Library The Browser’s Library pane allows you to search for any file in the MASCHINE Library.
Browser Searching and Loading Files from the Library 1 2 3 4 5 6 7 8 9 The elements of the Library pane. (1) Library tab: Click the Library tab to open the Library pane described here. (2) File Type selector: This contains seven icons, each representing the different files types of MASCHINE. From the left to right the file types are Project, Group, Sound, Instrument presets, Effect presets, Loops, and One-Shots. Only the selected file type is displayed in the Result list (8). See section ↑4.2.
Browser Searching and Loading Files from the Library (3) Content selector: Select the User icon to display user content. When the User icon is lit only user content is shown in the Result list. When the User icon is unlit only factory content is shown in the Results list. (8). See section ↑4.2.5, Choosing Between Factory and User Content. (4) Product selector: In the drop-down menu you can select a particular product, product category, and sometimes the bank and sub-bank of the selected product.
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 ↑4.5, Editing the Files’ Tags and Properties. Overview of the Search Workflow in the Library Pane When searching for files via the Library pane, you can progressively refine your search by following this typical top-to-bottom workflow. The first two steps are mandatory: 1.
Browser Searching and Loading Files from the Library The Browser on your controller. On the displays of your controller, the Browser is organized as follows: ▪ The left display allows you to narrow your search by selecting the file type, the content type (factory or user files), as well as a product category, a product, a bank, and a sub-bank. ▪ The right display allows to further refine your search by selecting the desired Type (and possibly Character) tags.
Browser Searching and Loading Files from the Library 1. Move the 4-D encoder left/right to select a field. The selected field is indicated by thin brackets: 2. Turn the 4-D encoder to change the value in the selected field. 3. Move the 4-D encoder right to select the Results list. 4. Turn the 4-D encoder to select an item from the Results list. 5. Press the 4-D encoder to load your selection from the Results list. 4.2.
Browser Searching and Loading Files from the Library → The Product selector opens up, showing you all products available in your MASCHINE Library. 1 2 3 The opened Product selector. (1) Product selector header: The header shows the selected product. If nothing has been selected, a generic label (All Instruments) is shown. Click on the header to close the Product selector. (2) Category/Vendor selector: Allows you to sort the Product list by Category or by Vendor.
Browser Searching and Loading Files from the Library ► To select a product and show only the preset files associated with it, click on the product in the list. → Upon your selection, the Product selector automatically closes, the product name and icon appear in the header, and the tag filter and results list below will be filtered accordingly. Products are shown in the Product selector only if the Library contains files for them.
Browser Searching and Loading Files from the Library The Bank menu showing All Banks for POLYPLEX The Bank menu allows you to select a particular bank of files for the selected product (POLYPLEX in the picture above).
Browser Searching and Loading Files from the Library ► To load a product with its default preset file, place the mouse over the product entry in the Product selector and click on the arrow symbol that appears in the upper right corner of the product entry. → The product and the first preset from the results list for this product are loaded, and the result list only displays preset files only associated with this product. 4.2.2.
Browser Searching and Loading Files from the Library 3. Press and hold SHIFT to access the filters for CATEGORIES / VENDORS. 4. Press Button 1 to select VENDOR if you want to browse by product Category. 5. Turn Knob 1 to select a category from the All Categories list. 6. Turn Knob 2 to filter your selection further by choosing a particular product. 7. Turn the 4-D encoder or Knob 8 to select a preset. 8. Press the 4-D encoder or Button 8 to load the selected preset. 4.2.
Browser Searching and Loading Files from the Library 1 2 3 The opened Product selector (for Instrument presets). (1) Product selector header: The header shows the product or the selected product category — if there is no selection it shows a generic label (All Instruments in the picture above) corresponding to the type of file selected in the File Type selector above. Click the header to close the Product selector.
Browser Searching and Loading Files from the Library selected at a time. You can also select a category and close the Product selector by clicking its header (1) again: The header (1) will display the category that you have just selected, and the TYPES filter (and CHARACTER filter, if present) along with the Result list will be filtered by that category. (3) Product list: Shows the products for which files are available in the MASCHINE Library. Click the desired product in the list.
Browser Searching and Loading Files from the Library Selecting a Bank and a Sub-Bank When you select specific products in the Product list (see description above), an additional Bank menu appears under the closed Product selector: The Bank menu showing All Banks for REAKTOR Effects. This Bank menu allows you to select a particular bank of files for the selected product (MASCHINE in the picture above).
Browser Searching and Loading Files from the Library Products and Banks for User Content When you save your own MASCHINE files, they are automatically assigned to products, banks, and sub-banks as follows: ▪ When you save Projects, Groups or Sounds, they are automatically set to the Maschine product. ▪ When you save Instrument or Effect presets: ◦ Presets for Internal Plug-ins: The product is set to Maschine, while the bank is set to the particular Internal Plug-in for which the preset has been saved (e.g.
Browser Searching and Loading Files from the Library Selecting a product category, a product, a bank, and a sub-bank on your controller. Additionally the left display shows you the name and icon of all products corresponding to the selected product category (Knob 1). The selected product (Knob 2) is highlighted. If there are more than six products available, a scroll bar appears on the right of the left display. The display automatically scrolls to show the selected product.
Browser Searching and Loading Files from the Library (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Loops: (.wav, .aiff) (7) One-Shots: (.wav, .aiff) ► Click the desired icon in the File Type selector to display only the files of that type in the Result list. → The selected icon is highlighted and the files are filtered accordingly.
Browser Searching and Loading Files from the Library ► At the top right of the left display, press Button 4 (USER) to browse the user content (button lit and USER label highlighted) or the factory content (button off and USER label not highlighted).
Browser Searching and Loading Files from the Library ► Click tags to filter files based on the selected type and character tags. Click the selected tags again to deselect them and broaden the search. Tags for Projects, Groups and Sounds: 3 Type Levels For Projects, Groups and Sounds tags are structured into three hierarchical levels globally called Types. You can select them via the TYPES filter: ▪ At first the TYPES filter displays the available top-level tags only.
Browser Searching and Loading Files from the Library ▪ The CHARACTERS filter provides an additional level that is independent from the Type levels: ◦ In general, Character tags will rather refer to technical terms (e.g., Arpeggiated, Percussive, Synthetic, etc.). ◦ The CHARACTERS filter is always displayed. You can start your search with the CHARACTERS filter before (or even without) using the TYPES filter.
Browser Searching and Loading Files from the Library Highlighted triangle next to the Attributes (TYPES and CHARACTERS). 4.2.6.1 [MST, MK3] Selecting Type and Character Tags on the Controller On your controller in Browse mode: ► Turn Knob 5–7 under the right display to select tags at the three levels of the tag filter. Turn a Knob at full left to remove any particular selection at this level (i.e. to select all items at this level).
Browser Searching and Loading Files from the Library Selecting Type and Character tags on your controller (here for Instrument presets). ▪ When browsing Projects, Groups, Sounds or Samples, Knob 5–7 allow you to select Type tags in the three hierarchical levels. ▪ When browsing Instrument or Effect presets (as in the picture above), Knob 5 and 6 allow you to select a Type and a Sub-Type, respectively; Knob 7 allows you to select a Character. 4.2.
Browser Searching and Loading Files from the Library The left display, here when browsing Effects: Selecting the Creative Effects category via Knob 1 (on the left), the 2.0 Library bank via Knob 3 (in the middle), and all sub-banks via Knob 4 (on the right). Like in the software, each of these lists includes an All… entry at the top allowing you to deselect any selected item. Turn the corresponding Knob at full left to select this entry.
Browser Searching and Loading Files from the Library 4.2.8 Performing a Text Search In the Search field you can enter your search query. The Search field. ► Click in the Search field and type the desired text to limit the results to files containing this text. The search will be performed on the file paths, the file names, the products/banks/sub-banks, the tags, and the properties directly as you type. If you want to search for a combination of two words (e.g.
Browser Searching and Loading Files from the Library The Result list showing kicks from the MASCHINE Library. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. The Result list allows you to: ▪ Select the desired file(s). ▪ Load the selected file(s) into your Project (or load another Project). ▪ Delete the selected file(s) from your hard disk and from the Library. ▪ Navigate to the selected file(s) in your operating system.
Browser Searching and Loading Files from the Library To select adjacent files in the list, do the following: ► Hold [Shift] on your computer keyboard and click two files in the Result list to select these files and all files in-between. To select distant files in the list, do the following: ► Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select. Loading Files via Double-Click Double-clicking one of the matches will load the respective file.
Browser Searching and Loading Files from the Library ▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new Zone will be created for that Sample. See section ↑17.5.7, Adding Samples to the Sample Map for more information. Drag and drop of Groups and Sounds is possible only in Arrange view.
Browser Searching and Loading Files from the Library ◦ If you drop the Effect presets onto a Group in the Group List or onto a Sound in the Sound List, they will be appended to the existing Plug-ins in the Plug-in List of that Group or Sound. ◦ If you drop the Effect presets between two existing Plug-ins in the Plug-in List of any channel, they will be inserted between these two Plug-ins.
Browser Additional Browsing Tools → The file is deleted from the MASCHINE Library and from your hard disk. When browsing factory content, the Delete entry is not available in the context menu.
Browser Additional Browsing Tools The Autoload button. When Autoload is enabled, any item that you select in the Result list of the Library pane or Files pane is automatically loaded into the focused Group or Sound slot or into the selected Plug-in slot, replacing any content currently in that location. This allows you to listen to this item in context with the rest of your Project while it is playing. Autoload is not available when browsing Projects.
Browser Additional Browsing Tools 4.3.2 Auditioning Instrument Presets When you are browsing Instrument presets, a Prehear button and Prehear Volume slider appear next to the Autoload button. The Prehear controls. ► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear. When Prehear is enabled, you can directly hear Instrument presets as you select them in the Result list of the Library pane or Files pane.
Browser Additional Browsing Tools When you disable Prehear, the playback of any Instrument preset still being pre-listened is stopped. The Prehear signal is sent to the Cue bus of MASCHINE. For more information on the Cue bus, see section ↑13.2.6, Using the Cue Bus. See also 2 Loading the Selected Files Automatically [➙ 193] 4.3.3 Auditioning Samples When you are browsing Samples, a Prehear button and Prehear Volume slider appear next to the Autoload button. The Prehear controls.
Browser Additional Browsing Tools ▪ The Sample selected in the result list can be triggered from the pad of the focused Sound or from any pad without being loaded into that Sound. ▪ Pressing any other pad triggers its Sound without changing the focus. To set the focus to another Sound you have to press SELECT + its pad or to disable Prehear. ▪ Turn the 4-D encoder or Knob 8 to select the previous or next Sample in the result list.
Browser Additional Browsing Tools Loading Groups with Patterns using the Controller When browsing Groups on your controller: ► Press SHIFT + Button 4 (+ PATTERNS) to include or exclude Patterns when Groups are loaded. → When the option is enabled (Button 4 lit and + PATTERNS label highlighted), Groups are loaded together with their Patterns. 4.3.5 Loading Groups with Routing When the file type Groups is selected, the +ROUTING button is available in the Control bar of the Browser.
Browser Using Favorites in the Browser 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. 4.4 Using Favorites in the Browser Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently used items. This includes Projects, Groups, Sounds, Instrument presets, Effect presets, Loops and One-shots.
Browser Using Favorites in the Browser The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass. To activate the Favorites filter: 1. Click on the Filter Favorites control next to the search field to filter the results by Favorites: 2. The Filter Favorites control is now lit and the results list shows all Favorites that match the selected search criteria. Adding an Item to the Favorites List To add an item to the Favorites, follow the instructions below: 1.
Browser Using Favorites in the Browser 2. Click on the Set Favorite icon to add the corresponding item to the Favorites. → The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name: You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set Favorites icon will appear as soon as you place the mouse cursor over the entry.
Browser Using Favorites in the Browser ► Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. → The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view and add Favorites directly using your controller.
Browser Editing the Files’ Tags and Properties → The Favorites filter is now activated and the results list shows all Favorites that match the search criteria: Adding an Item to the Favorites To add an item to the Favorites using follow the instructions below: 1. Press the BROWSER button. 2. Press Button 1 or 2 to select the type of item you want to set as a Favorite. 3. Turn the 4-D encoder to select the item you want to set as a Favorite. 4.
Browser Editing the Files’ Tags and Properties ▪ At any time you can edit the tags and properties of user files already in the Library by selecting them in the Result list of the Library pane and clicking the EDIT button at the bottom right of the Browser. After you have finished editing click APPLY to apply your changes to the selected files, or click the lit EDIT button again to cancel you changes and close the Attribute Editor. See section ↑4.
Browser Editing the Files’ Tags and Properties ► Click the desired tab at the top right of the Attribute Editor to show the corresponding page. You can adjust the overall height of the Attribute Editor by dragging its upper border. The number of items selected appears in yellow in the upper left corner of the Attribute Editor. Displaying Attributes of Factory Files When browsing in the Library pane, if the files selected in the Result list are factory files (i.e.
Browser Editing the Files’ Tags and Properties ▪ The TYPES page is available for all file types when opening the Attribute Editor both from the Library pane and the Files pane. Various columns are displayed, depending on the file type selected (see section ↑4.2.6, Selecting Type and Character Tags): ▪ The CHARACTERS page is available when opening the Attribute Editor from the Library pane to edit the tags of Instrument and Effect presets.
Browser Editing the Files’ Tags and Properties Displaying Tags ▪ In both TYPES and CHARACTERS pages, tags assigned to the selected files are marked with a check mark right of their name. ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right. In each column only one tag can be selected. 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 CHARACTERS pages cannot be deleted manually. However, if a tag is not assigned to any file anymore, it will be automatically removed from its column. 4.5.
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. 4.6 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 1 2 3 4 5 6 The elements of the FILES pane. (1) FILES tab: Click the FILES tab to open the FILES pane described here. (2) Favorite bar: Displays all your Favorites. Click any Favorite to directly jump to that particular path and display its content in the Result list (5). See section ↑4.6.2, Using Favorites. (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system.
Browser Loading and Importing Files from Your File System (4) Recent Locations button: Click this button to see a list of the last visited locations and quickly jump any of them. See section ↑4.6.4, Navigating to Recent Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the Location bar (3). Only MASCHINE-compatible files are displayed. See section ↑4.6.5, Using the Result List.
Browser Loading and Importing Files from Your File System ► Click any Favorite in the Favorite bar to jump to that location. → The selected location is loaded in the Location bar and its content appears in the Result list.
Browser Loading and Importing Files from Your File System The Location bar provides following tools: ▪ Up arrow: Click the Up arrow on the left to go one level up in your file system.
Browser Loading and Importing Files from Your File System The last 10 locations you have visited are stored by MASCHINE and available here: ► Click the Recent Location button and select any recently visited location from the list. → This location is loaded in the Location bar and its content displayed in the Result list. 4.6.5 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 ↑4.6.
Browser Loading and Importing Files from Your File System In front of each file, an icon indicates the type of the file: 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.
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 ↑4.2.9, Loading a File from the Result List. Additional Features in the Result List ► Right-click ([Ctrl]-click on macOS) any entry in the Result list to open a context menu with additional commands.
Browser Loading and Importing Files from Your File System Command Description Sort by Name Sorts the Result list according to the item names. Sort by Date Sorts the Result list according to the item dates. 4.6.6 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.
Browser Loading and Importing Files from Your File System 3. Select the desired folder as described above. 4. Click the IMPORT button at the bottom right of the Browser. You will be presented with the Attribute Editor. 5. In the Attribute Editor, tag the files you are about to import to the Library as described in section ↑4.5, Editing the Files’ Tags and Properties. 6. When you are done, click OK at the bottom right of the Browser to import the files to the Library.
Browser Locating Missing Samples ◦ If Samples reside in a subfolder of this subfolder, the name of the lower subfolder will be used as sub-bank. 4.7 Locating Missing Samples If you are loading a MASCHINE Project and one or more referenced Sample(s) cannot be found for any reason, a dialog in which you can locate the missing Samples will appear. The Missing Sample dialog allows you to locate missing Samples. Sounds referencing missing Samples are marked with an exclamation mark.
Browser Locating Missing Samples Locating or Purging Missing Samples at a Later Time When Sample references cannot be resolved, two additional Purge Missing Samples and Find Missing Samples appear in the context menu of the affected Sound(s) in the Sound List. The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing. 1. Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound. 2.
Browser Using Quick Browse 4.8 Using Quick Browse Quick Browse is a feature that allows you to quickly recall a search query you performed to get to a given file. Let’s say you have loaded a kick Sample after browsing the Library, then loaded a snare Sample to another Sound slot and now you realize you are not satisfied with that kick Sample, but you heard a nice kick Sample just before you chose the current one.
Browser Using Quick Browse ▪ Quick Browse for Instrument/Effect presets and for Samples: Click the magnifying glass in the upper right corner of the Control area to recall the search query that was used for the Plugin in the selected slot: ◦ 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 Quick Browse from Control Mode on the Controller From your controller you can easily access Quick Browse for Samples and Plug-in presets directly from Control mode: 1. Press PLUG-IN to enter Control mode and access your Plug-ins. 2. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want to recall the search query — see section ↑3.3.7, Focusing on a Group or a Sound and ↑3.3.8, Switching Between the Master, Group, and Sound Level. 3.
Browser Using Quick Browse 5. Turn the 4-D encoder to select the desired Plug-in preset or Sample from the list, and press the 4-D encoder to load it. → The selected file replaces the previous file in your Project. Quick Browse from Browse Mode on the Controller You can also access Quick Browse from the Browser on your controller. This notably allows you to perform Quick Browse on Sounds and Groups as well: 1. Press PLUG-IN to enter Control mode. 2.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 5 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. 5.1 Overview of the Sounds, Groups, and Master In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to the highest: ▪ Sounds are played by the pads. They are loaded into Sound slots.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 1 2 The Group List (1) and the Sound List (2) in the Arrange view of the software. 5.1.1 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 ↑13.2, The Mixer for more information. The Mixer displaying the channel strips for all Sounds in a Group. 5.1.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound slots between other slots containing Sounds), depending on how you prefer to play your Sounds from your pads. You cannot create Sound slots, but instead you can load/unload Sounds to/from the 16 existing Sound slots in each Group.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ The selection, on the other hand, determines what will be affected by your actions (e.g., adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the Sound List) is implicitly selected — nothing special here: This just means that the Sound whose parameters are currently displayed will be indeed affected by the changes you do on these parameters.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ If you set the focus to a Sound or Group which is already included in the current selection, the focus is moved to this new Sound or Group but the selection is preserved. This notably allows you to check the parameters of any selected Sound or Group while keeping the ability to modify parameters for the entire selection.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the common keyboard shortcuts of your operating system: in the Sound List or the Pad view for Sounds, and in the Group List for Groups. Following actions are available: Action Function Selecting Objects (Sounds or Groups) Click unselected object Selects the object and sets the focus to it.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ► Press and hold SELECT to enter Select mode. You can also press SELECT + Button 1 to pin this mode and make it permanent. → You are ready to select more than one Sound or Group. Selecting Sounds and Groups via the Select mode. You have following selection tools at your disposal: Selection Tool Description Pads Press any pad to set the focus to that particular Sound slot.
Managing Sounds, Groups, and Your Project Managing Sounds Selection Tool Description Button 6 (NONE) Deselects all Sounds in the current Group except the focused Sound. Button 8 (MULTI) Enables/disables the multiple selection mode. Toggling this option does nothing to the current focus nor selection but changes the behavior of the selection process — see below.
Managing Sounds, Groups, and Your Project Managing Sounds The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button. ► Click the Pad View button to show or hide the Pad view. → The Pad view replaces the Sound List on the left of the Pattern Editor. In the Pad view, each cell represents a pad on your controller and corresponds to a Sound slot in the current Group.
Managing Sounds, Groups, and Your Project Managing Sounds 5.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑4.8, Using Quick Browse for more information. 5.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the software.
Managing Sounds, Groups, and Your Project Managing Sounds ► Press SELECT + the pad containing the desired Sound. → The Sound is focused without being triggered. 5.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s or Sample’s name. You can also rename Sound slots manually.
Managing Sounds, Groups, and Your Project Managing Sounds 1. Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List or in the Pad view and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Sound is highlighted. 2. Select the desired color in the Palette. You can also choose to set the Sound back to the default color corresponding to its position in the list by selecting Default in the Color Palette.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ If the selected Sounds have the same color setting (a particular color or the default color), this color is highlighted in the Color Palette. ▪ If the selected Sounds have different color settings, no setting is highlighted in the Color Palette. When you select a new color setting from the Color Palette it is applied to all selected Sounds. By default Sounds inherit the color of their Group.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save from the context menu: → Your modifications are saved to the Sound file. Even if you don’t save a Sound individually, its current settings will still be saved with your Project. But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and Projects.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save As… from the context menu: A Save Sound dialog appears. By default, the Sound file inherits the name of its Sound slot and it will be saved in your Standard User Directory (as defined in Preferences > Library > User, see section ↑3.7.4, Preferences – Default Page for more information). 1.
Managing Sounds, Groups, and Your Project Managing Sounds In the software, Sounds are copied without their note content in the Pattern. To include the note content in the copying operation, use DUPLICATE on your controller (see below)! To copy and paste Sounds in the software: 1. Right-click (on macOS: [Ctrl]-click) the Sound slot (in the Sound List or in the Pad view) containing the Sound you want to copy. 2. In the context menu, choose Copy to copy the Sound. 3.
Managing Sounds, Groups, and Your Project Managing Sounds The copying procedure for multiple Sounds is as follows: When you copy a selection of Sounds, they are both placed into the clipboard and kept in the Sound List. The pasting procedure for multiple Sounds is as follows: ▪ When you paste a selection of Sounds onto a Sound slot, the pasted Sounds replace the current Sound in that slot and in the following slots — if the last Sound slot is reached, the remaining copied Sounds won’t be pasted at all.
Managing Sounds, Groups, and Your Project Managing Sounds 4. Press the pad of the target Sound slot (this can also be in another Group, in this case first press the desired Group button). → All parameters of the Sound will be copied (including the Pattern content for that Sound if you have enabled the +EVENTS option). The copied Sound will replace any Sound previously loaded in the target slot.
Managing Sounds, Groups, and Your Project Managing Sounds 2. While holding the mouse button, drag your mouse toward the desired location in the Sound List or in the Pad view. As the mouse cursor moves an insertion line appears at the potential places where you can drop the Sound slot(s). 3. When the insertion line appears at the desired location in the Sound List or in the Pad view, release the mouse button. → Each Sound takes its new place in the Group.
Managing Sounds, Groups, and Your Project Managing Sounds You can select multiple Sound slots to reset them all at once! See ↑5.1.3, Selecting Multiple Sounds or Groups for more information. ► 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 macOS: [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.
Managing Sounds, Groups, and Your Project Managing Groups 5.3 Managing Groups This section describes the global editing functions available for Groups.
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit. 5.3.1 Creating Groups Creating a Group will add a new empty Group at the end of the Group List. You can then fill this Group with the Sounds of your choice.
Managing Sounds, Groups, and Your Project Managing Groups Creating Groups on Your Controller On your controller, existing Groups are indicated by the lit Group buttons A–H: ▪ The focused Group is indicated by the fully lit Group button. ▪ The other Groups of your Project are indicated by half-lit Group buttons, each Group button showing the color of the corresponding Group.
Managing Sounds, Groups, and Your Project Managing Groups You have many methods at your disposal to load a Group whether you are in Ideas view or Song view: ▪ Drag and drop: Select the desired Group in the Browser or Group file in your operating system and drag it onto the Group List: ◦ Drag it onto an existing Group to replace this Group in the Group List. ◦ 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.
Managing Sounds, Groups, and Your Project Managing Groups 5.3.3 Renaming Groups By default, new Groups are named Group Ax–Hx, “x” indicating the bank number (Group A1– H1, Group A2–H2, etc.). You can rename Groups as you see fit. Naming is only available from within the software, but any changes will also show up on your controller. Group renaming is performed like Sound renaming: 1.
Managing Sounds, Groups, and Your Project Managing Groups 1. Right-click ([Ctrl]-click on macOS) the desired Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Group is highlighted. 2. Select the desired color in the Palette.
Managing Sounds, Groups, and Your Project Managing Groups 5.3.5 Saving Groups You can save your Groups as individual files (extension “.mxgrp”). This can be only done in the software.
Managing Sounds, Groups, and Your Project Managing Groups You cannot save changes to factory files — these files are read-only. If you run the Save command on a factory file, it automatically turns into the Save As… command: a Save Group dialog opens and lets you save your modified Group to your user library. See next paragraph for more details. The same happens with Groups you have built from scratch.
Managing Sounds, Groups, and Your Project Managing Groups The Group will be added to the Library and is ready to be tagged in the Browser — see section ↑4.5, Editing the Files’ Tags and Properties for more information on this. You can also save a Group together with all the Samples used in this Group. This can be useful to use a drum kit on another computer or share it with other users. See section ↑5.4.1, Saving a Group with its Samples for more information. 5.3.
Managing Sounds, Groups, and Your Project Managing Groups 3. Right-click (macOS: [Ctrl]-click) any Group in the Group List and select Paste from the context menu to replace that Group with the copied one. If you want to paste the Group without affecting the existing Groups, first click the “+” under the last Group to create a new empty Group and paste the Group there. → All parameters of the Group will be copied. The Group previously in that position in the Group List will be replaced.
Managing Sounds, Groups, and Your Project Managing Groups ▪ When you paste a selection of Groups onto an existing Group, the pasted Groups replace that Group and the following Groups. Example: If you paste the Groups A1 and B1 onto the Group E2, the duplicates of A1 and B1 will replace the Groups E2 and F2, respectively (if, say, F2 didn’t exist it is automatically created).
Managing Sounds, Groups, and Your Project Managing Groups 4. Press the Group button of your target Group (this can also be in another Group bank, in this case first press Button 3/4 to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white Group button after the last colored Group button to create the new Group and automatically paste the copied Group there.
Managing Sounds, Groups, and Your Project Managing Groups → The Group takes its new place in the Group List. This new place is also mirrored on the pads of your controller. 5.3.8 Deleting Groups Deleting a Group will remove it from the Group List. It is not possible to have a Project without any Groups; attempting to delete the last remaining Group in a Project will simply reset the Group to the default values. You can select multiple Groups to delete them all at once! See ↑5.1.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Deleting a Group. Deleting a Group on Your Controller On your controller in Control mode, do the following to delete a Group: ► To delete a Group, hold SHIFT + ERASE and press the Group button of the Group you want to delete. → The Group is removed. All following Groups are shifted left to fill the gap. 5.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 5.4.1 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 ↑3.7.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 1. Choose Save Project with Samples… from the File menu or the File submenu in the MASCHINE menu: You will be presented with the Save Project with Samples panel: 2. In this panel, adjust the settings (see table below) and click Save to confirm or Close to cancel the operation.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Project Displays the name and location of the Project file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Project file inherits the name of the Project and it will be saved in the “Projects” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑3.7.4, Preferences – Default Page for more information).
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio To export audio from MASCHINE: 1. Set the Loop Range to the region that you want to export. 2. Choose Export Audio… from the File menu or from the File submenu in the MASCHINE menu. You will be presented with the Export Scenes as Audio panel (see picture below). 3. Select the Range and Source and then the destination (see description below). 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Export Scenes as Audio panel. The following parameters are available in the Export Audio panel, which is split into three distinct sections: Source, Options, and Destination. Source Section The Source section allows you to define exactly what will be exported.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Range Set the range for the audio you want to export. The options here will differ depending on whether MASCHINE is in Ideas view or Song view. In Ideas view the following options are available: All: Select this option to export all Scenes as audio. Selected: Select this option to export the selected Scene as audio.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sounds. Only Sounds with a check mark will be exported. The check box of Group entries allow to check/uncheck all Sounds of the Group at once. If some of the Sounds only are checked in a Group, the Group is “dimmed checked.” Options Section The Options section allows you to make settings related to the quality of the audio export.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Select from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz. Bit Depth Select from three different bit depths (or bit resolutions) for the exported audio file(s): 16 Bit is the bit depth of the audio CD format. 24 Bit is well suited for mastering.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats ▪ If Group Outputs is selected in the Output menu the audio files will be named as follows: [Project name] - [Group order number] [Group index (letter + number)] [Group name] [BPM].wav/aiff The Group order number is a two-digit number indicating the “order of appearance” of the Group in the Group List. This ensures that an alphabetical listing of the exported files will reflect the structure of your Project.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats A REX file loaded in the first Sound slot. 5.5.2 Importing MPC Programs to Groups MASCHINE allows you to import Drum program files (.PGM and .AKP) from the Akai MPC series to Groups. Supported models include the MPC4000, MPC3000, MPC2000, MPC500, MPC1000 and the MPC2500.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter 1000, 2500 0 (XL) 0 Voice Overlap x − x x Polyphony Filter1 Type x − − − Filter Type Filter1 Frequency x − x x Filter Cutoff Filter1 Resonance x − x x Filter Resonance Filter1 Velocity to Frequency x − − − Velocity Cutoff Mixer Level x x x x Track Level Mixer Pan x − x x Track Pan Velocity to Level x − − − Velocity to Vo
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 2. Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel: 3. In the Input section of the panel, select one of the import options (see table below). 4. Click OK to start the import procedure (or Cancel to close the panel without importing anything).
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Control Description Import All Banks Select this to import all Banks of the MPC Program file. Each Bank will be loaded into a separate Group. Import One Bank Select this if you only want to import a single Bank. Use the drop-down menu to the right to select which Bank you want to import. The list below shows you a preview of the sounds in the selected MPC Bank.
Playing on the Controller Adjusting the Pads 6 Playing on the Controller This chapter describes the numerous features available in MASCHINE to adjust and enhance your playing, both during live performances and when recording Patterns. 6.1 Adjusting the Pads You can optimize and fine-tune the way the pads of your controller react to your playing: ▪ Choose a pad mode that best fit your playing needs: ↑6.1.1, The Pad View in the Software.
Playing on the Controller Adjusting the Pads When the Pad View button is enabled, the Pad view replaces the Sound List below: The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group. The focused pad is fully lit; other pads containing a Sound are dim lit; pads without any Sound are off. The following actions are available in the grid: ▪ Click any pad to select the corresponding Sound slot.
Playing on the Controller Adjusting the Pads Parameter Description Key Adjusts the base key for the selected pad. See section Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section ↑6.1.4, Using Choke Groups below. Link Configures Pad Link for the selected pad. See section ↑6.1.5, Using Link Groups below. 6.1.2 Choosing a Pad Input Mode By default, your pads play all Sounds of the selected Group — we call this Pad Mode.
Playing on the Controller Adjusting the Pads If your controller is in Pad mode (default mode), the right display contains a mapping matrix showing the name and color of the Sound played by each pad. You can adjust the base key for the selected pad by pressing buttons 5-8. Parameter Description OCTAVE-, OCTAVE+, SEMITONE-, and SEMITONE+ (Button 5–8) Adjust the base key for the selected pad. See section Adjusting the Base Key for details.
Playing on the Controller Adjusting the Pads the focused Sound). The pitch of the played note is defined by the base key (see section Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT + FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using Keyboard Mode The KEYBOARD button located above the pads activates and deactivates Keyboard mode. In this mode your pads play the focused Sound at sixteen different pitches.
Playing on the Controller Adjusting the Pads To shift the scale in octaves use Button 5 (octave down) or Button 6 (octave up). You can also shift the scale in semitones: use Button 7 (semitone down) and Button 8 (semitone up).
Playing on the Controller Adjusting the Pads The base key also affects the pitch of events created via the step sequencer. See section ↑11.3.1, Step Mode Basics for more information on this. Adjusting the base key only affects the notes played by the pads of your controller. It does not affect the notes recorded in your Patterns. To adjust the key of notes in Patterns, please refer to section ↑5.1.3, Selecting Multiple Sounds or Groups.
Playing on the Controller Adjusting the Pads 6.1.4 Using Choke Groups When your pads are in Pad Mode, Choke groups allow you to build sets of “mutually exclusive” pads: A Choke group lets you force each newly triggered Sound to cancel out all other Sounds still playing — in other terms, these Sounds would never play together, the newer Sound automatically “killing” the audio of the older one.
Playing on the Controller Adjusting the Pads The Hi-hat is an ideal candidate for making use of Choke groups! See ↑9.4.3, Hi-hat – Memory for more details! Adjusting the Choke Multiple Sounds with different Choke Values ► Click the MULTI label next to Choke and select the desired value from the list to set all selected Sounds to that same Choke group. This also applies to the Master/Slave setting next to it. Sound slots 1 to 4 are selected.
Playing on the Controller Adjusting the Pads 4. Turn Knob 2 (CHOKE MODE) to select the Choke mode from MASTER (default setting) or SLAVE for that pad. 5. Release PAD MODE (or press it again if you pinned the mode). 6.1.5 Using Link Groups When your pads are in Pad Mode, Link groups allow you to link pads with each other: this can be used to trigger multiple Sounds when pressing only one pad. Each pad of a Group can be assigned to one of eight Link groups.
Playing on the Controller Adjusting the Pads 3. In the same Link section click the Mode value (Master or Slave) to switch the Sound between Master (default setting) and Slave mode. A Link group makes sense only if more than one pad/Sound are assigned to it! Adjusting the Link Parameter for Multiple Sounds with different Link Values ► Click the MULTI label next to Link and select the desired value from the list to set all selected Sounds to that same Link group.
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds 3. Turn Knob 3 (LINK GROUP) to select the desired Link group 1–8 for that pad or choose NONE (default setting) to remove the pad from its current Link group. 4. Turn Knob 4 (LINK MODE) to select the Link mode from MASTER (default setting) or SLAVE for that pad. 5. Release PAD MODE (or press it again if you pinned the mode). 6.
Playing on the Controller Playing Tools Adjusting the Choke or Link Parameter for Multiple Sounds with different Choke or Link Values ► Click the MULTI label next to Choke or Link and select the desired value from the list to set all selected Sounds to that same Choke or Link group, respectively. This also applies to the Master/Slave setting next to it. Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left).
Playing on the Controller Playing Tools ▪ Hardware Shortcuts give you a quick access to the most important parameters of each channel (Sound, Group, and Master): ↑6.3.4, Level, Tempo, Tune, and Groove Shortcuts on Your Controller. 6.3.1 Mute and Solo Muting is used to silence a Sound or a Group, whereas Solo is pretty much the opposite: Soloing a Sound or a Group mutes all other Sounds in that Group or all other Groups, respectively, so that you can listen to the selected Sound or Group alone.
Playing on the Controller Playing Tools Soloing the first kick Sound. 2. To unsolo a Sound, right-click (on macOS: [Ctrl]-click) the number again. Soloing a Group 1. To solo a Group, right-click (on macOS: [Ctrl]-click) the Group index (letter + number) on the left side of the Group in the Arranger: Soloing a Group. 2. To unsolo a Group, right-click (on macOS: [Ctrl]-click) the Group index again. Muting a Sound 1.
Playing on the Controller Playing Tools Muting a Sound. 2. 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.). You can also activate audio mute for Sounds to mute both events and audio — see the beginning of this section for more information. Muting a Group 1.
Playing on the Controller Playing Tools The Solo mode on the controller. 1. Press and hold SOLO to enter Solo mode. You can also press SOLO + Button 1 to pin this mode and make it permanent. 2. Solo Sounds by pressing their pads, and solo Groups of the current Group bank by pressing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group bank, respectively. To enter mute mode on your controller: The Mute mode on the controller. 1. Press and hold MUTE to enter Mute mode.
Playing on the Controller Playing Tools ▪ On your controller, the unmuted pads and Group buttons are fully lit, while the muted ones are dim lit (and the empty ones are off). ▪ On the displays, the unmuted Sounds and Groups are highlighted while the muted ones are not (and the empty ones are… empty). In both modes the displays provide a few more functions: ▪ ALL ON (Button 5) turns all Sounds on in the selected Group. ▪ NONE (Button 6) turns all Sounds off in the selected Group.
Playing on the Controller Playing Tools ▪ as a workflow aid, to stop long one-shot Samples that continue playing after you have stopped the sequencer ▪ as a first panic button, if you are not sure where in your Project a particular sound is coming from, and you want to get rid of it. Contrary to the Mute function, Choke All Notes is not turning any Group/Sound into another state. Instead, all audio voices currently playing are instantaneously killed.
Playing on the Controller Playing Tools The Groove properties for a Sound in the software. The Groove properties for a Sound on the controller. Controls Description SWING Section Amount Adjusts the amount of swing, i.e. the amount by which some events are shifted. At 0 % events are not shifted. Raise the Amount value to increase the strength of the swing. Cycle Determines on what musical resolution the groove is applied. This directly affects which events will be shifted.
Playing on the Controller Playing Tools The following picture shows you how this rhythm would sound with the following settings: ▪ Top: Amount at 0.0 % (no groove). ▪ Middle: Amount at 100.0 % and Invert off. ▪ Bottom: Amount at 100.0 % and Invert enabled. This is how the same regular rhythm would be heard with various groove settings.
Playing on the Controller Playing Tools Volume and Velocity Shortcuts The VOLUME button. In Pad Mode, Keyboard mode or Chords mode: 1. Press the VOLUME [Velocity] button. 2. To change the output level of the Master (i.e. the overall output level of MASCHINE), simply turn the 4-D encoder. 3. To change the output level of a Group, hold its Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4.
Playing on the Controller Playing Tools In the software you can also adjust the output level of the Master via the Master Volume slider in the Header: The Master Volume slider in the software’s Header. To reset the output level of the Master to 0 dB, double-click the Master Volume slider. Swing and Position Shortcuts The SWING button. In Pad Mode, Keyboard mode or Chords mode: 1. Press SWING [Position] button. 2. To change the groove of the Master, simply turn the 4-D encoder. 3.
Playing on the Controller Playing Tools ► To change the position of a selected step in Step mode, hold its pad and turn the 4-D encoder. → The adjusted value is temporarily shown on the left display. To adjust the value in finer increments, press and turn the 4-D encoder (or hold SHIFT while you turn it). These shortcuts control the AMOUNT parameter in the SWING page of the Master’s, Group’s, and Sound’s Groove properties, respectively. See section ↑6.3.
Playing on the Controller Playing Tools 2. To change the tempo of the Master (i.e. the tempo of your Project), simply turn the 4D encoder. 3. To change the tune of all Sounds in a Group, hold the desired Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4. To change the tune of an individual Sound, hold its pad and turn the 4-D encoder. In Step mode: ► To change the tune of a selected step in Step mode, hold its pad and turn the 4-D encoder.
Playing on the Controller Performance Features ► Press the TEMPO button and turn the Encoder to quickly adjust the tempo of your Project. Press and turn the Encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled. These shortcuts control the Tempo parameter of MASCHINE. In the software this parameter is available in the Header: The Tempo parameter in the software’s Header. 6.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode. In this picture, blue cells represent modules sending “control” signals, i.e. triggering messages (e.g.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Pad Mode The following diagram illustrates signal flow between your hits on the pads in Pad Mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Pad Mode. In this picture you will notice the following: ▪ Note Repeat takes the place of the Scale, Chord, and Arp modules between the live input on the pads and the Pattern Editor.
Playing on the Controller Performance Features 6.4.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano according to, e.g., the minor pentatonic scale without hitting a “false” pad (note) on your controller, or to play chords that always fit by hitting single pads.
Playing on the Controller Performance Features ▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g., key switches) on particular keys, these notes will not be triggered by the Scale and Chord engine. Available Scales The Scale engine is controlled via two parameters: ▪ Root Note (C3 by default): Defines both the root note of the scale and the particular key triggered by pad 1. As a direct consequence, pad 1 always triggers the root note of the selected scale.
Playing on the Controller Performance Features Main Scales Scale Bank Type Degree Formula Chromatic Main Chrom 1 ♭2 2 ♭3 3 4 ♭5 5 ♭6 6 ♭7 7 Major Main Major 1234567 Minor Main Minor 1 2 ♭3 4 5 ♭6 ♭7 Harm Min Main Harm Min 1 2 ♭3 4 5 ♭6 7 Maj Pent Main Maj Pent 12356 Min Pent Main Min Pent 1 ♭3 4 5 ♭7 Blues Main Blues 1 ♭3 4 ♯4 5 ♭7 Japanese Main Japanese 1 2 ♭3 5 ♭6 Freygish Main Freygish 1 ♭2 3 4 5 ♭6 ♭7 Gypsy Main Gypsy 1 2 ♭3 ♯4 5 ♭6 7 Arabic Main Arabic 1
Playing on the Controller Performance Features Modes Scales: Scale Bank Type Degree Formula Ionian Modes Ionian 1234567 Dorian Modes Dorian 1 2 ♭3 4 5 6 ♭7 Phrygian Modes Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 Lydian Modes Lydian 1 2 3 ♯4 5 6 7 Mixolydian Modes Mixolyd 1 2 3 4 5 6 ♭7 Aeolian Modes Aeolian 1 2 ♭3 4 5 ♭6 ♭7 Locrian Modes Locrian 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 Ionian b2 Modes Ion b2 1 ♭2 3 4 5 6 7 Dorian b5 Modes Dor b5 1 2 ♭3 4 ♭5 6 ♭7 Harm Phryg Modes Har Phry 1 ♭2 ♭3 4 5
Playing on the Controller Performance Features Jazz Scales Scale Bank Type Degree Formula Lydian ♭7 Jazz Lyd ♭7 1 2 3 ♯4 5 6 ♭7 Altered Jazz Altered 1 ♭2 ♯2 3 ♯4 ♭6 ♭7 Diminished Jazz Diminshd 1 ♭2 ♯2 3 ♯4 5 6 ♭7 Mixo b13 Jazz Mix b13 1 2 3 4 5 ♭6 ♭7 Mixo b9 b13 Jazz Mixb9b13 1 ♭2 3 4 5 ♭6 ♭7 Lydian ♭7 b2 Jazz Lyd ♭7b2 1 ♭2 3 ♯4 5 6 ♭7 Bebop Jazz Bebop 1 2 3 4 5 6 ♭7 7 Whole Tone Jazz Whole Tn 1 2 3 ♯4 ♯5 ♭7 Blues Maj Jazz Blues Ma 1 2 ♭3 3 5 6 Blues Min Jazz Blues
Playing on the Controller Performance Features World Scales Scale Bank Type Degree Formula Hungarian Min World Hung Min 1 2 ♭3 ♯4 5 ♭6 7 Hungarian Maj World Hung Maj 1 ♯2 3 ♯4 5 6 ♭7 Neapolitan World Neapoltn 1 ♭2 ♭3 4 5 ♭6 7 Spanish World Spanish 1 ♭2 ♭3 3 4 5 ♭6 ♭7 Greek World Greek 1 2 ♭3 ♭4 5 ♭6 ♭7 Jewish 1 World Jewish 1 1 ♭2 3 4 5 ♭6 ♭7 Jewish 2 World Jewish 2 1 2 ♭3 ♯4 5 6 ♭7 Indian 1 World Indian 1 1 ♭2 ♭3 ♯4 5 ♭6 7 Indian 2 World Indian 2 1 2 ♭3 ♯4 5 6 7 Ind
Playing on the Controller Performance Features 5-Tone Scales Scale Bank Type Degree Formula Penta I 5-Tone Pent I 12356 Penta II 5-Tone Pent II 1 2 4 5 ♭7 Penta III 5-Tone Pent III 1 ♭3 4 ♭6 ♭7 Penta IV 5-Tone Pent IV 12456 Penta V 5-Tone Pent V 1 ♭3 4 5 ♭7 Hirajoshi 5-Tone Hira 1 2 ♭3 5 b6 Insen 5-Tone Insen 1 ♭2 4 5 ♭7 Kokin Joshi 5-Tone Kokin 1 2 4 5 b6 Akebono 5-Tone Akebono 1 2 ♭3 5 6 Ryukuan 5-Tone Ryukuan 13457 Abhogi 5-Tone Abhogi 1 2 ♭3 4 6 Bhupkali
Playing on the Controller Performance Features Modern Scales Scale Bank Type Degree Formula Octatonic Modern Octatonc 1 2 ♭3 4 ♯4 ♯5 6 7 Acoustic Modern Acoustic 1 2 3 ♯4 5 6 ♭7 Augmented Modern Augmentd 1 ♭3 3 5 ♯5 7 Tritone Modern Tritone 1 ♭2 3 ♭5 5 ♭7 Leading Wh Tone Modern Lead Wh 1 2 3 ♯4 ♯5 ♯6 7 Enigmatic Modern Enigmatc 1 ♭2 3 ♯4 ♯5 ♯6 7 Scriabin Modern Scriabin 1 2 3 ♯4 6 ♭7 Tcherepnin Modern Tcherepn 1 ♯1 ♯2 3 4 5 ♯5 6 7 Messiaen I Modern Mes I 1 2 3 ♯4 ♯5 #
Playing on the Controller Performance Features Major Scales Scale Bank Type Degree Formula Natural Major Natural 1234567 Lydian Major Lydian 1 2 3 ♯4 5 6 7 Mixolydian Major Mixolyd 1 2 3 4 5 6 ♭7 Major Minor Major Maj Min 1 2 3 4 5 ♭6 ♭7 Harmonic Major Major Har Maj 1 2 3 4 5 ♭6 7 Dbl Har Major Major Dbl Maj 1 ♭2 3 4 5 ♭6 7 Neapolitan Maj Major Nea Maj 1 ♭2 3 4 5 6 7 Major Locrian Major Maj Loc 1 2 3 4 ♭5 ♭6 ♭7 Blues Major Major Blues Ma 1 2 ♭3 3 5 6 Bebop Major Maj
Playing on the Controller Performance Features Minor Scales Scale Bank Type Degree Formula Natural Minor Natural 1 2 ♭3 4 5 ♭6 ♭7 Dorian Minor Dorian 1 2 ♭3 4 5 6 ♭7 Phrygian Minor Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 Minor Major Minor Min Maj 1 2 ♭3 4 5 6 7 Harmonic Minor Minor Har Min 1 2 ♭3 4 5 ♭6 7 Dbl Har Minor Minor Dbl Min 1 2 ♭3 ♯4 5 ♭6 7 Neapolitan Min Minor Nea Min 1 ♭2 ♭3 4 5 ♭6 7 Minor Locrian Minor Min Loc 1 2 ♭3 4 ♭5 ♭6 ♭7 Blues Min Minor Blues Mi 1 ♭3 4 ♯4 5 ♭7
Playing on the Controller Performance Features Available Chords The Chord engine can automatically generate chords depending on the pad you hit and possibly the selected scale. The Chord engine is controlled via two parameters: ▪ Chord Mode (Off by default): Selects from three different modes for generating chords: ◦ Off: No chords will be generated. Only the notes corresponding to the pads that you hit will be played.
Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Major 4 and 7 Minor 3 and 7 Suspended 4 5 and 7 Major 7 4, 7, and 11 Minor 7 3, 7, and 10 Dominant 7 4, 7, and 10 Dominant 9 4, 7, 10, and 14 Minor 7♭5 3, 6, and 10 Diminished 7 3, 6, and 9 Augmented 4 and 8 Quartal 5, 10, and 15 Trichord 5 and 11 When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic, the chords are bound to the particular notes includ
Playing on the Controller Performance Features Scales and Chords: Visual Feedback on the Pads When scales and/or chords are enabled, the LEDs of the pads keep you informed at any time on the current scale and chord configuration.
Playing on the Controller Performance Features Condition Enharmonic Spelling Scale Type is set to Chromatic All C Keys C# D D# E F F# G G# A A# Scale Type is not set to C Chromatic C# D E♭ E F F# G A♭ A B♭ B Chord Mode is set to C Chord Set and Chord Type is set to Major 1-8 D♭ D E♭ E F F# G A♭ A B♭ B Chord Mode is set to Chord Set and Chord Type is set to Minor 1-8 C# D D# E F F# G G# A B♭ B C Erasing Notes When erasing notes from your controller, the not
Playing on the Controller Performance Features Like the Scale and Chord engine, the Arp engine is dedicated to Keyboard mode. The Arp engine can be seen as a melodic extension of the Note Repeat: Actually, Arp replaces and extends Note Repeat in Keyboard mode. Instead of playing repeated notes at a constant pitch you can play sequences of notes at different pitches.
Playing on the Controller Performance Features 2. While holding NOTE REPEAT, hold any pad. The Sound of the pad is repeatedly triggered at the rate shown at the bottom of the controller’s display. 3. While holding NOTE REPEAT, press Button 5, 6, 7 or 8 above the right display to select another repetition rate. → This is a handy way to add live ornaments to your Pattern! The Note Repeat mode on your controller.
Playing on the Controller Performance Features The Arp mode on your controller. In Arp mode you can customize the way the notes of the played chord will be arpeggiated by adjusting following settings: Element Description LOCK (Button 2) Keeps the Arp feature enabled even when you leave Arp mode. For example, this can be useful to adjust the chord settings, switch to another Pattern, adjust Plug-in parameters, etc., while keeping arpeggios running.
Playing on the Controller Performance Features Element Description Button 5–8 Selects between four different presets, even during playing. Each preset can store particular values for the TYPE; RATE, UNIT, SEQUENCE, and OCTAVES parameters at the bottom of the displays (see below). The rate currently assigned to each button is indicated below on the display along with the UNIT value (“T” for triplet values or “D” for dotted values). The selected preset is highlighted.
Playing on the Controller Performance Features Element Description SEQUENCE (Knob 5) Allows you to add interesting rhythms to your arpeggiated notes. Select one of eight different sequences and apply it to the arpeggio you are playing. Select Off to use the default regular sequence. OCTAVES (Knob 6) Adjusts the spread of the arpeggiated sequence.
Playing on the Controller Using Lock Snapshots The applied swing is not recorded in the Pattern Editor. For an overview of the signal flow starting from your pads, have a look at the diagrams in section ↑6.4.1, Overview of the Perform Features. For example, when you play live beats on top of a running Pattern, you can use Note Repeat without destroying the Pattern’s groove: the repeated notes will be processed using the same swing parameters as the playing Pattern.
Playing on the Controller Using Lock Snapshots 3. Press LOCK to recall the snapshot. → The Lock snapshot is recalled and the LOCK button ceases to be highlighted. You can access your snapshot in Extended Lock mode. For more information on Extended Lock read ↑6.5.2, Using Extended Lock. If you find better settings press the LOCK button again to update the snapshot. ► Press SHIFT + FILE (Save) to save your Project. See also 2 Using Extended Lock [➙ 323] 6.5.
Playing on the Controller Using Lock Snapshots 4. Press the LOCK button to exit Extended Lock view. 5. Adjust the settings on your controller until you are ready to update the snapshot. You can use button 5 and 6 to switch between Channel parameters and Plug-in parameters. 6. Press SHIFT + LOCK (Ext Lock) to return to Extended Lock view. 7. Press button 5 UPDATE to update your snapshot. Repeat the process to update other Lock snapshots. 6.5.
Playing on the Controller Using Lock Snapshots → As you switch between your snapshots a controlled transition from one to another at the selected time rate can be heard. Element Description MORPHING MORPH Select to switch morphing ON or OFF mode. MODE TRAVEL will morph the selected snapshots without syncing to the grid. The morph will begin instantly instead of waiting until the next bar begins. The duration of the morph is set using the TIME parameter.
Playing on the Controller Using Lock Snapshots 6.5.7 Triggering Lock Snapshots via MIDI If MASCHINE is running as a plug-in in a host environment, you can trigger and change Lock snapshots using MIDI Note or MIDI Program Change messages sent from your host to the MASCHINE plug-in.
Playing on the Controller Using the Smart Strip 2. In the submenu that opens, select the source you want to use for changing the MIDI Program Change messages. A list of connected controller names appear in the drop-down menu, or you can select None to disable the feature. 3. Then select MIDI Note to trigger your Lock snapshots via MIDI notes, or Program Change to trigger your Lock snapshots via MIDI Program Change messages. 4.
Playing on the Controller Using the Smart Strip 6.6.1 Pitch Mode In Pitch mode, sliding your finger on the Smart Strip “bends” the pitch of the notes you play on the pads, i.e., it detunes the sound by a certain amount. If you have used the pitch bend wheel on a synthesizer or standard MIDI keyboard before, you are probably familiar with the effect. In Pitch mode, the scale on the Smart Strip is centered, as indicated by a white LED in the middle of the Smart Strip.
Playing on the Controller Using the Smart Strip 1. Press the PLUG-IN button. 2. Select the Group (A-H) you want to apply the effect to. 3. Open the Perform FX page on the controller by pressing SHIFT + PERFORM. 4. Select a Perform FX mode from the Mode menu by turning Knob 1, and letting go of the knob when the effect you want to use is highlighted in the list. 5. Press PERFORM to enable Perform mode. 6. Slide a finger on the Smart Strip to control the parameter the Smart Strip is mapped to.
Working with Plug-ins Plug-in Overview 7 Working with Plug-ins Plug-ins are the building blocks of all sound in MASCHINE. They can be used at all three levels of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master. This chapter includes various general or specific Plug-in topics: ▪ An overview of Plug-ins and how to handle them (↑7.1, Plug-in Overview).
Working with Plug-ins Plug-in Overview The Control area displaying the content of the Sound Kick Ordinance of the selected Sound slot 1. Sounds, Groups, and the Master can each hold any number of Plug-ins. These are stacked up in the Plug-in List, on the left of the Control area.
Working with Plug-ins Plug-in Overview ► To show the Plug-in List, click the little Plug-in icon at the far left of the Control area: In the Plug-in List, the processing order is always from top to bottom. In addition to Plug-ins, each Sound, each Group, and the Master also provide a set of global settings called Channel properties. These are described in section ↑6.3.3, Groove and in chapter ↑12, Audio Routing, Remote Control, and Macro Controls.
Working with Plug-ins Plug-in Overview Instrument Plug-ins Effect Plug-ins Internal Plug-ins Audio, Sampler, Drumsynth, Bass Synth MASCHINE internal effects Native Instruments Plug-ins VST/AU instrument plug-ins from Native Instruments’ range of products VST/AU effect plug-ins from Native Instruments’ range of products External Plug-ins Third-party VST/AU instrument plug-ins Third-party VST/AU effect plug-ins ▪ Instruments: These Plug-ins generate sound.
Working with Plug-ins Plug-in Overview ◦ Internal Effects: These are the Effect Plug-ins included with MASCHINE. To read every details about each of the MASCHINE internal effects, and how to use them, please refer to chapter ↑12, Audio Routing, Remote Control, and Macro Controls and ↑15, Effect Reference. ◦ Native Instruments: You can use all Native Instruments KOMPLETE effects installed on your computer as VST/AU plug-ins. Products from Native Instruments are tightly integrated in MASCHINE.
Working with Plug-ins Plug-in Overview 7.1.3 Loading, Removing, and Replacing a Plug-in The procedure to load a Plug-in with its default settings is common to all levels (Sound, Group, and Master) and all Plug-in types (Internal, Native Instruments, and External, as well as Instrument and Effect): 1. Set the focus to the Sound, Group or the Master where you want to load the Plug-in (see section ↑3.3.7, Focusing on a Group or a Sound).
Working with Plug-ins Plug-in Overview The Plug-in List is still empty, because we selected an empty Sound slot. The only visible element in the list is a “+” icon at the top left. 3. Click the slot with the “+” icon at the top of the Plug-in List. This opens the Plug-in menu where you can select the desired Plug-in for loading (see below for a detailed description of the entries contained in the Plug-in menu).
Working with Plug-ins Plug-in Overview 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 ► To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None at the top of the menu. → The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap. Furthermore, the Plug-in menu also allows you to replace the loaded Plug-in with another one: ► To replace the Plug-in currently loaded in a slot, open its Plug-in menu and select another Plug-in in the menu.
Working with Plug-ins Plug-in Overview Content of the Plug-in Menu The entries in the Plug-in menu differ according to the Plug-in slot from which you are calling the menu: ▪ The first Plug-in slots of Sounds accepts both Instrument and Effect Plug-ins. The entries available in their Plug-in menu are listed in the following table. ▪ All other Plug-in slots at the Sound, Group, and Master level only accept Effect Plug-ins.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Sampler (first Plug-in slot of Sounds only) The Sampler is the Internal Instrument Plug-in used to play back all Samples in MASCHINE — this essential Plug-in will be described in details in section ↑7.2, The Sampler Plug-in. Drumsynth submenu (first Plug-in slot of Sounds only) Lists the available Drumsynths: Kick, Snare, Hi-hat, Tom, and Percussion.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save As… Allows you to save the current Plug-in settings as a preset for later use. This preset will appear in the Browser. Save As Default… (only Allows you to save the current Plug-in settings as a default when a Native Instruments preset. This default preset will be recalled each time you load or External Plug-in is the Plug-in from the Plug-in menu.
Working with Plug-ins Plug-in Overview 7.1.3.2 Loading, Removing, and Replacing a Plug-in on your Controller On the controller, do the following: 1. At the top left of your controller, press the PLUG-IN button to enter Control mode and display the Plug-in slots of the selected Sound, Group or the Master. 2. Select the Sound, Group or the Master where the Plug-in is located (see section ↑3.3.7, Focusing on a Group or a Sound). 3. Move the 4-D encoder to the right to navigate to the desired Plug-in.
Working with Plug-ins Plug-in Overview If the selected Plug-in slot was not empty, the previous Plug-in will be replaced with the new Plugin. Instead of using the Plug-in Browser, you can also use the common Browser to load a particular preset for a Plug-in (see section ↑4.2, Searching and Loading Files from the Library). Inserting a Plug-in To insert a Plug-in directly after the selected Plug-in slot, do the following: 1. Press SHIFT + Button 3 (INSERT).
Working with Plug-ins Plug-in Overview You can also recall the search query that was used to find the Plug-in preset currently loaded in the Plug-in slot (see section ↑4.8, Using Quick Browse for more information). 7.1.4 Adjusting the Plug-in Parameters The procedure for adjusting the Plug-in parameters is common to all types of Plug-ins and all sets of Channel properties. It is described in section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.
Working with Plug-ins Plug-in Overview 3. If you want to bypass a Plug-in of a Sound, click the Group of its parent Group in the Arranger, click the desired Sound slot on the left of the Pattern Editor, and click the SOUND tab in the top left corner of the Control area. 4. In the Plug-in List, click the icon left to the Plug-in name (keys for an Instrument Plug-in, FX for an Effect Plug-in) to bypass this Plug-in. The Plug-in does not affect the sound anymore.
Working with Plug-ins Plug-in Overview 5. 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. If there are no Plug-ins in the channel this will read EMPTY. 6. Press SHIFT + Button 7 (BYPASS) above the right display to bypass the selected Plug-in slot. → The Plug-in is bypassed and does not affect the sound anymore. In the left display the Plug-in icon and name are grayed out.
Working with Plug-ins Plug-in Overview Moving Plug-ins Within the Plug-in List ► To move a Plug-in in the Plug-in List, click its name and drag your mouse vertically. While you are holding the mouse button, an insertion line appears at the place in the Plug-in List where the Plug-in would land if dropped. Drag your mouse until the insertion line is at the desired location, then release the mouse button to drop the Plug-in onto this new location.
Working with Plug-ins Plug-in Overview Duplicating Plug-ins Across Sounds and Groups Instead of selecting Cut in the Plug-in menu of the original slot (see above), select Copy to duplicate the Plug-in to another slot! Moving a Plug-in on the Controller On your controller in Control mode, you can move a Plug-in to another slot of the same Sound, Group or the Master. To do this: 1. Select the desired Plug-in (see section ↑3.3.
Working with Plug-ins Plug-in Overview 7.1.9.1 Saving Plug-in Presets Saving Plug-in presets can only be done in the software via the Plug-in menu. To access the Plug-in menu, click the drop-down arrow on the right-hand side of the Plug-in slot in the Plugin List: Opening the Plug-in menu. 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.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save Saves your changes to the preset currently loaded. Save As… Saves the current Plug-in settings as a new preset on your hard disk. Save As Default… Saves the current settings and assignments as the default preset for the Plug-in. This default preset will be loaded with this Plug-in the next time it is opened. Remove Default Preset Removes the default preset for the current plug-in.
Working with Plug-ins Plug-in Overview You can assign tags to the Plug-in presets that you saved. This is done in the Browser in the MASCHINE software. For more information, please refer to section ↑4.5, Editing the Files’ Tags and Properties. KOMPLETE products and MASCHINE EXPANSIONS have to be updated to ensure their full integration into the MASCHINE Library. To update any Native Instruments product installed on your computer, please start the Service Center.
Working with Plug-ins The Sampler Plug-in 3. Click Remove Default Preset in the menu to remove the default preset. → The default plug-in preset is removed and the plug-in will load with its initialized settings next time it is opened. You can also use the Plug-in Manager in the Preferences panel to gain an overview of your default plug-in presets and also remove them if required. Removing the default preset for a plug-in is a software only feature. 7.
Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑11.5, Recording and Editing Modulation and ↑12.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dialog will appear and help you locate the missing Sample(s) again. Please refer to section ↑4.7, Locating Missing Samples for more information.
Working with Plug-ins The Sampler Plug-in 7.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller. Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software.
Working with Plug-ins The Sampler Plug-in Parameter Description VOICE SETTINGS Polyphony Here you can define a voice limit for the Sound, that is the maximum number of voices (notes) the Sampler can play simultaneously. Once this polyphony has been reached, triggering any additional note will kill the “oldest” note still playing (i.e. the note that was triggered first). The available values are 1, 2, 4, 8 (default), 16, 32, and 64.
Working with Plug-ins The Sampler Plug-in 7.2.2 Page 2: Pitch / Envelope Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE on the controller. Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software. Parameter Description PITCH / GATE Tune Defines the basic pitch of your Sample: turn the knob to the right for a higher pitch and to the left for a lower pitch. Start Determines the start point of the Sample.
Working with Plug-ins The Sampler Plug-in AMPLITUDE ENVELOPE The AMPLITUDE ENVELOPE section allows you to tailor your Sample in terms of its loudness over time. The Type selector. The Type selector allows you to choose from three different types of amplitude envelopes.
Working with Plug-ins The Sampler Plug-in ▪ ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control. Unlike many other hardware devices, the pads on MASCHINE are sensitive not only to being hit, but also to being held — so using the ADSR envelope, you can make the pads behave like a MIDI keyboard and sustain a note only for as long as it is held down.
Working with Plug-ins The Sampler Plug-in 7.2.3 Page 3: FX / Filter Sampler parameters – page 3 of 6: FX and FILTER on the controller. Sampler parameters – page 3 of 6: FX and FILTER in the software. FX This is a small selection of basic effects, not to be mixed up with the collection of Effect Plugins covered in depth in chapter ↑15, Effect Reference. Parameter Description FX Comp Basic compressor allowing you to give a Sound more density.
Working with Plug-ins The Sampler Plug-in Parameter Description SR SR stands for “sample rate”: you can use it to lower the original sample rate in order to make the Sound more lo-fi. Bits Allows you to lower the original bit depth of the Sound, resulting in a more rough, digital sounding lo-fi effect. FILTER The Filter selector in the FILTER section gives you access to a set of different filters.
Working with Plug-ins The Sampler Plug-in 7.2.4 Page 4: Modulation Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION on the controller. Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software. MODULATION ENVELOPE The MODULATION ENVELOPE section offers an additional envelope allowing further modification (or “modulation”) of specific Sampler parameters according to the way you play on the pads.
Working with Plug-ins The Sampler Plug-in Envelope Controls Description Decay With Decay you adjust how fast the envelope drops to the sustain level in ADSR mode; in AHD mode it is used to adjust how fast the envelope fades out. Sustain The envelope level that will be maintained as long as the note is played. Release The time for the sustain level to return to zero after the note has ended. DESTINATION This is where you define modulation targets for the modulation envelope, i.e.
Working with Plug-ins The Sampler Plug-in 7.2.5 Page 5: LFO Sampler parameters – page 5 of 6: LFO and DESTINATION on the controller. Sampler parameters – page 5 of 6: LFO and DESTINATION in the software. LFO The LFO (Low Frequency Oscillator) is another modulation source based on waveforms with different shapes. LFO Controls Description Type Here you can choose the shape of the LFO waveform. Available shapes are Sine, Tri (Triangle), Rect (Rectangle), Saw, and Random.
Working with Plug-ins The Sampler Plug-in LFO Controls Description Phase Defines the initial phase of the LFO waveform, from -0.50 to 0.50. Sync The Sync selector is used to synchronize the LFO with the tempo of your Project. If Free is selected, the LFO rate is independent of the Project tempo.
Working with Plug-ins The Sampler Plug-in 7.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller. Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters.
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Positive values shift the Sample start position later in time as you play harder, negative values shift it closer to the beginning of the Sample as you play harder. Tip: a typical example for this parameter is setting it so that the initial attack transient of a snare drum is heard only at high velocity values.
Working with Plug-ins Using Native Instruments and External Plug-ins 7.3 Using Native Instruments and External Plug-ins MASCHINE allows you to load VST/AU plug-ins from Native Instruments (Native Instruments Plug-ins) or any third-party manufacturer (External Plug-ins) and to use them like the MASCHINE Internal Plug-ins.
Working with Plug-ins Using Native Instruments and External Plug-ins MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8). When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little diagonal arrow appears left of the Parameter pages’ tabs, at the top of the Control area: The little diagonal arrow next to the Parameter pages’ tabs.
Working with Plug-ins Using Native Instruments and External Plug-ins You can also close any floating window via the common button provided by your operating system at the top left or right corner of the window. MASCHINE will always show the open floating windows of the focused Sound, Group or Master when selected.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil icon) in the Plug-in Header: Opening/Closing Plug-in Windows on the Controller On the controller, to open/close a floating window for a Native Instruments or External Plug-in do the following: 1.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The current state of the Plug-in parameters can be saved to the Browser as a preset for total recall of the Plug-in (see section ↑7.1.9, 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 ↑7.3.2, 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 (3) 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. You can change page labels by defining sections within your pages via the Section Label fields (2) — see above. (4) Focus frame: Indicates the knob being assigned. Click any knob to edit its assignment.
Working with Plug-ins Using Native Instruments and External Plug-ins The parameter slots’ context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Parameter. Ctrl + R / Cmd + R Learn Activates the Learn Mode. Reset Reset the Parameter. Cut Cut the Parameter to paste it in another position. Ctrl + X / Cmd + X Copy Copy the Parameter. Ctrl + C / Cmd + C Paste Paste a cut or copied Macro to a new position.
Working with Plug-ins Using Native Instruments and External Plug-ins The Parameter pages’ context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 7.3.4 Keyboard Shortcuts Using VST/AU Plug-in Presets For some of your Native Instruments or third-party VST/AU plug-ins, you might already have a set of factory or user presets (or patches, programs, etc.
Working with Plug-ins Using Native Instruments and External Plug-ins lecting the factory content by clicking the NI logo on the right, then choosing the desired NI product in the drop-down list underneath — and of course, you will find all these presets in the same locations in the Browser on your controller. You can also add to the MASCHINE library the user presets you might have created for any Native Instruments product installed on your computer.
Working with Plug-ins Using Native Instruments and External Plug-ins 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 ▪ 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 Plug-in is in the last Plug-in slot). ▪ The Plug-in’s additional outputs are made available as audio sources for other Sounds of the same Group (they appear in the Source menu in the Audio page of the Input properties for these Sounds).
Using the Audio Plug-in 8 Using the Audio Plug-in The Audio Plug-in can playback Samples (drums, percussion, basslines, guitar riffs, etc.) in sync with the tempo of your Project. It has two modes: Loop mode and Gate mode. ▪ Loop mode is the default setting where the loaded loop will play continuously whenever there is an active Pattern in the Group. You can see the waveform of the Sample in the Pattern Editor to understand how it aligns with the Pattern.
Using the Audio Plug-in Once an Audio Plug-in is loaded it becomes visible in both the MASCHINE software and on the controller. MASCHINE Audio Plug-in Here is an overview of the Audio Plug-in parameters: Element Description PLAYBACK Section Mode Select the mode of playback: Loop or Gate. Loop: The default mode for playback, in this mode the Sample is heard with the Pattern (as with any regular MIDI event) without the need to trigger it.
Using the Audio Plug-in Element Description Tune Transpose the tune (range: -36 – +36 semitones) of the Audio Plugin. You can use this knob to set the playback pitch of the loop to 'C', and then the loop's pitch will match the pitch of Notes programmed into the Pattern. To increase the tuning of the Sample in semitones, turn the Tune knob clockwise by clicking and dragging upwards. To decrease the tuning of the Sample in semitones, turn the Tune knob counterclockwise by clicking and dragging downwards.
Using the Audio Plug-in Element Description Stretch This playback engine provides complete independence between tempo and pitch. With this engine, you can change the tempo of a loop without changing its pitch, you can change its pitch without changing its tempo, or you can change both the tempo and pitch simultaneously. This mode even allows you to automate pitch changes by entering Events into the Pattern Editor while using Gate mode.
Using the Audio Plug-in Loading a Loop into the Audio Plug-in 8.1 Loading a Loop into the Audio Plug-in You can use the Sampler Plug-in to record sound directly from a microphone, or from an electric instrument (such as an electric guitar) connected to your soundcard, to create your own loops. Alternatively, you can quickly audition loops within the MASCHINE Library by using the Loops tag in the Browser to find one you want. To learn how to filter for loops using the Browser, refer to the section ↑4.2.
Using the Audio Plug-in Editing Audio in the Audio Plug-in By default the Audio Plug-in will playback in Loop mode, meaning the Sample will be repeated for the duration of the Pattern regardless of the length of the Sample. If you want to chop the loop and pitch it, switch to Gate mode. For more information on Gate mode, refer the following section ↑8.3, Using Loop Mode.
Using the Audio Plug-in Using Loop Mode ▪ The Edit page allows you to apply destructive edits to existing audio: ↑17.3, Editing a Sample. The destructive audio editing features here are the same as those found in the Sample Editor, for more information on using the destructive audio editing features, refer to ↑17.3, Editing a Sample. 8.3 Using Loop Mode Loop mode is the default mode for the Audio Plug-in and is used to playback an audio file in time with your Project.
Using the Audio Plug-in Using Loop Mode The Audio Plug-in with a bass recording in Loop mode. Enabling and Disabling Audio per Pattern When using Loop mode with the Audio plug-in, it is possible to enable and disable audio in the current Pattern in the Pattern Editor. By default, when audio is recorded using the Audio plugin, or if it is tagged as a ‘Loop’ and loaded directly from the Browser, it will be enabled in the Pattern and play back when you press Play.
Using the Audio Plug-in Using Gate Mode 8.4 Using Gate Mode Gate mode is used to chop and pitch selected parts of your Sample by applying MIDI note events in the Keyboard view of the Pattern Editor or by recording them using your controller. Each event is a gate for the Sample; the length determines the duration of playback, and placement on the scale determines the pitch. By chopping and pitching the loop you can create melodies or even use it for effect on drums.
Using the Audio Plug-in Using Gate Mode The process of using Gate mode is as follows; load a loop onto a Sound, select Gate mode from the parameters of the Audio Plug-in and then add MIDI events in the Pattern in the regions where you want to chop and pitch your Sample, or press play on your controller and use the pads to pitch the Sample. For more information on recording and editing events, refer to chapter ↑11, Working with Patterns.
Using the Drumsynths 9 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 9.1 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 ↑7.
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 9.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily. The ranges of some shared parameters are different across engines.
Using the Drumsynths The Kicks For all engines, the Tune parameter lets you define which pitch will be played when hitting the pad of that Sound (with pads in Pad Mode) or playing the middle C (MIDI note 60) base note. 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.
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): ↑9.2.1, Kick – Sub. ▪ Tronic: ↑9.2.2, Kick – Tronic. ▪ Dusty: ↑9.2.3, Kick – Dusty. ▪ Rasper: ↑9.2.5, Kick – Rasper. ▪ Snappy: ↑9.2.6, Kick – Snappy.
Using the Drumsynths The Kicks ▪ Bold: ↑9.2.7, Kick – Bold. ▪ Maple: ↑9.2.8, Kick – Maple. ▪ Push: ↑9.2.9, Kick – Push. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.2.1 Kick – Sub The Sub engine is the default engine of the Kick.
Using the Drumsynths The Kicks Element Description Bend Adjusts the amplitude of the pitch envelope applied throughout the sound duration (punch), measured as a percentage. Available values range from 0.0 to 100.0 % (default: 6,8 %). At zero, the sound stays at its original pitch during its entire decaying phase. As the Bend value is increased, an increasing amount of pitch envelope is applied.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Kicks Element Description Bias Adjusts the timbre of the distortion, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At zero, the distortion is symmetrical and introduces mostly odd harmonics. As the Bias value is increased, the distortion becomes more asymmetric and more even harmonics are introduced, resulting in a different tonality, especially at more subtle Gain settings.
Using the Drumsynths The Kicks 9.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Kicks Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.2.4 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to section 10.2 “The Kicks” in the MASCHINE 2.0 Manual. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.
Using the Drumsynths The Kicks Element Description Grind Adjusts the grittiness of the “aero” component of the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 45.0%). Low values produce a boomy reverberation. High values result in a crushed, digital “air” squashed into the drum sound. Note that this parameter will only have an effect if Amount is set to a non-zero value (see below).
Using the Drumsynths The Kicks 9.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.
Using the Drumsynths The Kicks Element Description Decay Adjusts the duration of the crispness effect, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 34.0 %). Amount Adjusts the amount of crispness, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this. Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑9.2, The Kicks.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Punch Simultaneously adjusts the amplitude and decay time of the noise in the attack.
Using the Drumsynths The Kicks 9.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Using the Drumsynths The Kicks Element Description Size Adjusts the size of the room, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Amount Adjusts the amount of room effect applied to the drum sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, 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 ↑9.2, The Kicks.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 9.3 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): ↑9.3.1, Snare – Volt ▪ Bit: ↑9.3.2, Snare – Bit ▪ Pow: ↑9.3.3, Snare – Pow ▪ Sharp: ↑9.3.4, Snare – Sharp ▪ Airy: ↑9.3.
Using the Drumsynths The Snares ▪ Vintage: ↑9.3.6, Snare – Vintage ▪ Chrome: ↑9.3.7, Snare – Chrome ▪ Iron: ↑9.3.8, Snare – Iron ▪ Clap: ↑9.3.9, Snare – Clap For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.3.1 Snare – Volt The Volt engine is the default engine of the Snare. The Volt snare is an electronic snare based on a family of analog classics.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Osc Mode Selects the oscillator mode: If you select Tonal (default), the engine uses two oscillators running in parallel, the higher of which is extra sensitive to velocity for increased expressivity.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Grit Adjusts the intensity of the bitcrushing, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 30 %). NOISE Section Color Adjusts the tone of the digital noise, measured as a percentage.
Using the Drumsynths The Snares 9.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Snares Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %. Advanced Page The Advanced page contains parameters controlling the wires’ sound of the drum.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, but also the “spread” between the individual claps, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Room Adjusts the balance between the dry sound — the claps themselves — and the synthesized room sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At high values, extra “air” is added.
Using the Drumsynths The Snares 9.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mixes containing heavy bass. The adjustment of the wires spectrum provides a great range of snares. It also works very well with the Rasper Kick. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.
Using the Drumsynths The Snares Element Description SPECTRA Section Mode Selects from two different noise types that simulate the wires of the drum. Available modes are A (default) and B. Tune Provides an independent tuning of the snare noise. It relates to the tension of the snare wires on a real snare drum. Available values range from 0.0 to 100.0% (default: 50.0%). Decay Adjusts the length of the sound of the snare wires, independently from the main Decay parameter on the Main page.
Using the Drumsynths The Hi-hats 9.4 The Hi-hats The Hi-hat Drumsynth can generate a variety of hi-hat sounds. The Hi-hat in the Control area (Main page depicted). The Hi-hat panel in the Plug-in Strip.
Using the Drumsynths The Hi-hats As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Hi-hat provides following engines: ▪ Silver (default): ↑9.4.1, Hi-hat – Silver. ▪ Circuit: ↑9.4.2, Hi-hat – Circuit. ▪ Memory: ↑9.4.3, Hi-hat – Memory. In addition, we mention how to use Choke groups with Hi-hat Plug-ins to emulate a closed vs. open hi-hat set up: ↑9.4.
Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage. A short decay produces a closed hat; a long decay gives an open hihat or cymbal. Available values range from 0.0 to 100.0 % (default: 65.0 %).
Using the Drumsynths The Hi-hats Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.4.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑9.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage.
Using the Drumsynths The Hi-hats Element Description Seed Selects a random sequence to control the waveform produced by the oscillator. Each of the 31 seed values available produces a different set of random pitches and harmonics. Dissonance Affects the randomization of the oscillator, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 25.0 %). Higher values introduce more randomization, resulting in a more noisy sound.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, 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 ↑9.4, The Hi-hats.
Using the Drumsynths The Hi-hats Element Description Strike Adjusts the attack of the cymbal, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Distress Introduces even more lo-fi grit, crushing and distortion. Available values range from 0.0 % (default) to 100.0 %. Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑13.4, The Plug-in Strip. Main Page Element Description MAIN Section Engine Selects the engine used in the Hybrid plug-in. For more information on the available engines, please refer to section ↑9.4, The Hi-hats.
Using the Drumsynths The Hi-hats Advanced Page Element Description HYBRID Section Bend Adjusts the amount of a pitch envelope for sound design purposes. It is a bipolar control ranging from -100.0 to 100.0% (default: 0.0%) Rattle Adjusts the amount of sizzling from the hi-hat. It is more noticeable with long decays. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Page Like with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section ↑6.1.4, Using Choke Groups where Choke groups are explained in detail. With a single Hi-hat Plug-in, you could also recreate an open-closed hi-hat behavior by disabling Gate and modulating the Decay in your Pattern.
Using the Drumsynths The Toms The Tom panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Tom provides following engines: ▪ Tronic (default): ↑9.5.1, Tom – Tronic. ▪ Fractal: ↑9.5.2, Tom – Fractal. ▪ Floor: ↑9.5.3, Tom – Floor.
Using the Drumsynths The Toms For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Toms Element Description Bend Adjusts the pitch sweep of the sound, measured as a percentage. Available values range from -100.0 % to 100.0 % (default: 0.0 %). At zero the sound stays at its original pitch during its entire decaying phase. At higher values, the pitch bends upwards. At lower values, the pitch bends downwards. Impact Adjusts the amount of attack, measured as a percentage. Available values range from 0.0 % (soft attack) to 100.0 % (maximum attack).
Using the Drumsynths The Toms Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.5.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑9.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 48.00 to 72.00. The default value is 48.00. For more details see↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Toms Element Description Color Adjusts a simple filter which affects the brightness of the sound. Available values range from 0.0 to 100.0 % (default: 50.0 %). Glide The tuning of the Fractal tom is locked for each note; in other words the change in tuning is applied only when a new note is received. When the Glide parameter is set higher than zero, the pitch glides smoothly to the new tuning.
Using the Drumsynths The Toms Element Description Transpose Adjusts the pitch transposition of the feedback oscillator bank only, measured in semitones and cents. This is useful for tuning it to the tone oscillator. Available values range from -12.00 to 12.00 semitones (default: 0.00). Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank, measured as a percentage. Available values range from 0.0 to 100.0 % (default).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0 % (default). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From the mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0% (default). Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 80.0%). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Percussions The Percussion in the Control area (Main page depicted). The Percussion panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Percussions ▪ Fractal (default): ↑9.6.1, Percussion – Fractal. ▪ Kettle: ↑9.6.2, Percussion – Kettle. ▪ Shaker: ↑9.6.3, Percussion – Shaker. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.6.1 Percussion – Fractal The Fractal engine is the default engine of the Percussion.
Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑9.5.1, Tom – Tronic). This allows you to create arpeggiated patterns by adjusting the Tune parameter while a sequence of notes is playing.
Using the Drumsynths The Percussions Element Description HARMONICS Section KTr. Mode (Key Tracking Mode) Selects from two key tracking modes: Harmonic (default) and Dissonant. In Harmonic mode all oscillators track the Tune parameter (on the Main page, see above) and your keyboard evenly. Therefore, the drum stays in tune with itself as the Tune parameter is adjusted, and can be played chromatically across a keyboard or the pads.
Using the Drumsynths The Percussions Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Percussions Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Filter Adjusts the bandwidth of the filter applied to the noise source, measured as a percentage. Higher settings result in a wider filter. Lower settings result in a narrower filter, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 70.0 %). Grain Adjusts the timbre of the noise source, measured as a percentage. Higher settings emulate the grainy sound of a real shaker. Available values range from 0.0 to 100.
Using the Drumsynths The Percussions Element Description Accent (Performer mode only) Controls the amount of emphasis on certain notes within the shaker pattern, measured as a percentage. At low values, the groove is static and the notes rather quiet, as if the shaker were being shaken very gently and uniformly. As the parameter is increased, key notes in the pattern are emphasized, creating a classic shaker groove.
Using the Drumsynths The Percussions Element Description Sync The Sync parameter has two options: Lock and Retrig. In Lock mode, the shaker pattern is synced to the song position; that is, it is always in time regardless of when a note is pressed. In Retrig mode, the shaker pattern (including accents) is retriggered on every note on, without quantizing to the nearest beat. In both cases, the tempo of the pattern remains correct for the song. Rate Sets the note division of the shaker pattern.
Using the Drumsynths The Cymbals Element Description Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher values will result in a pattern with more swing. Note that Swing alone will result in quite a mechanical feel — for a more human feel it is recommended to add some Twist as well (see below). Available values range from 0.0 to 100.0% (default: 0.0%). Twist The Twist parameter “skews” the groove of the shaker pattern.
Using the Drumsynths The Cymbals The Crash engine selected for the Cymbal in the Control area (Main page depicted). The Crash engine selected on the Cymbal panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑9.7.1, Cymbal – Crash. ▪ Ride: ↑9.7.2, Cymbal – Ride. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.7.1 Cymbal – Crash The Crash engine creates a wide range of cymbals: from a typical 909-like crash to more acoustic sounding timbres.
Using the Drumsynths The Cymbals Element Description Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%). COLOR Section Density Adjusts the more complexity to the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 100.
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Drumsynths The Cymbals Element Description Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 70.0%). Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%).
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Bass Synth 10 Using the Bass Synth Bass Synth is an internal fun and easy to use monophonic synthesizer module that allows you to quickly create expressive basslines. Like any other Instrument Plug-in, load it into the first Plug-in slot of a Sound to gain full control over its parameters in the Control Panel or direct from your hardware controller. Create rich bass tones and program acid lines with ease.
Using the Bass Synth Bass Synth – General Handling 10.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste a Bass Synth, as well as how to adjust the Bass Synth parameters, and load/save presets, please refer to section ↑7.
Using the Bass Synth Bass Synth – General Handling ◦ The Main page groups the most important parameters. Here you can adjust the Shape of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation (Mod. Amt.) and envelope Decay amounts, the Drive amount and the Glide Time. ◦ The Advanced page provides access to the Glide on/off parameter.
Using the Bass Synth Bass Synth – General Handling 10.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Bass Synth Bass Synth – General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% – 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards. Decay Adjusts the rate at which the sound fades to silence (range: 0.0% – 100%). To increase the decay amount, turn the Decay knob clockwise by clicking and dragging upwards.
Working with Patterns Pattern Basics 11 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: ↑11.1, Pattern Basics. ▪ How to record Patterns in real time from your controller: ↑11.2, Recording Patterns in Real Time.
Working with Patterns Pattern Basics 11.1.1 Pattern Editor Overview The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software. This overview of the Pattern Editor introduces you its main parts and control elements. 1 5 8 6 9 10 2 3 7 4 11 15 14 13 12 The Pattern Editor (Group view depicted). (1) Group View button: Click this button to switch to Group view. See section ↑11.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics (5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view. The Pad view is an alternate representation of your Sound slots that focuses on the pads of your controller. In Pad view you can adjust how the Sounds should be triggered by your pads. See section ↑6.1.1, The Pad View in the Software. (6) Pattern Manager button: Opens/closes the Pattern Manager.
Working with Patterns Pattern Basics (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modulation and the MIDI/host automation of each parameter. See section ↑11.5, Recording and Editing Modulation and ↑12.2, Using MIDI Control and Host Automation for more information.
Working with Patterns Pattern Basics ▪ The Event Edit mode lets you edit the selected events: ↑11.4.4, Editing Selected Events/ Notes. ▪ The Grid mode lets you adjust the Step Grid: ↑11.1.7, Adjusting the Step Grid and the Nudge Grid. The Pattern Arrange Mode The Pattern Arrange mode is a powerful tool that allows you to visually control the content of your Patterns while providing important Pattern management features. To enter Pattern Arrange mode on your controller: 1.
Working with Patterns Pattern Basics 1 2 3 4 5 6 7 8 The Pattern Arrange mode in the controller displays: Keyboard view (top) and Group view (bottom).
Working with Patterns Pattern Basics ◦ Above the arrangement overview, you see the name of the Project, the focused Group or the focused Sound (depending on which of the MASTER, GROUP or SOUND tab is selected in the software’s Control area) along with the current tempo and playback position. ▪ The right display provides a detailed view of a portion of your Pattern: ◦ The name of the selected Pattern is indicated at the top of the display (6).
Working with Patterns Pattern Basics ▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑11.7.8, Duplicating, Copying, and Pasting Patterns). ▪ Press Button 5 (EVENTS) to access Event Edit mode, which allows you to precisely adjust the selected events (see section ↑11.4.4, Editing Selected Events/Notes).
Working with Patterns Pattern Basics 2 1 3 The zooming scroll bar at the bottom of the Pattern Editor. Use the horizontal zooming scroll bar as follows: ▪ Click the main part (1) of the scroll bar and hold the mouse button, then: ◦ Drag your mouse horizontally to scroll through the Event area on the time axis (common scroll bar behavior). ◦ Drag your mouse vertically to zoom in or out of the Event area on the time axis.
Working with Patterns Pattern Basics When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch axis. It works in the same way as the horizontal bar described above. For more information on the Group and Keyboard view, see section ↑11.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics The Follow function affects both the Pattern Editor and the Song view of the Arranger simultaneously (see section ↑16.1.2, Following the Playback Position in Your Project for more information on the Follow function in Song view). Following the Playback Position on the Controller ► To follow the playhead position during playback, press FOLLOW. → The FOLLOW button lights up, and the software follows the playback position of the song.
Working with Patterns Pattern Basics 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. Moving the playhead to another position in the timeline of the Pattern Editor automatically moves it to the corresponding position in the Arranger.
Working with Patterns Pattern Basics For more information on the Pattern Grid, see section ↑11.1.6, Adjusting the Arrange Grid and the Pattern Length. 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.
Working with Patterns Pattern Basics 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 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.” Click any note on the piano roll to trigger the selected Sound at that particular pitch. This view is well suited for melodic instruments (e.g.
Working with Patterns Pattern Basics ► To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange view and select the desired setting from the menu (see above for the available settings). → The divisions of the Arrange Grid now have the size you have just selected. The following Arrange Grid resolutions are available: ▪ 1 Bar, 1/2 note, …, 1/16th note: Each of these settings lets you adjust the Pattern Length by the specified increment. ▪ Off: The Arrange Grid is disabled.
Working with Patterns Pattern Basics ► To adjust the Pattern Length, click the Pattern Length: field and drag it up to make the Pattern longer or drag it down to make it shorter. You can also double-click the displayed value, enter a new value with your computer keyboard, and press [Enter] to confirm.
Working with Patterns Pattern Basics 2. Turn Knob 4 (LENGTH) to adjust the Pattern Length according to the current resolution of the Pattern Grid. Method 2: Using the Pattern Arrange mode In Pattern mode you can adjust the Pattern Length of the current Pattern: 1. Press ARRANGER then Button 2 (PATTERN) to enter Pattern Arrange mode. 2. Turn Knob 4 (LENGTH) to adjust the Pattern Length according to the current resolution of the Pattern Grid.
Working with Patterns Pattern Basics Adjusting the Grid Using Record Prepare Mode This extra method is very useful if you are about to start a new recording. Indeed, the Record Prepare mode (accessed by pressing the unlit REC button and holding it) is tightly integrated into the recording workflow of Control mode. For all details please refer to section ↑11.2.2, The Record Prepare Mode. 11.1.
Working with Patterns Pattern Basics Regardless of the current Step Grid resolution, the gray lines on the beats (quarter notes) and the black lines on the bars (notes) are always visible in the Event area. Enabling or Disabling the Step Grid ► To enable or disable the Step Grid, click the Step Grid button (showing a little grid icon) in the bottom left corner of the Pattern Editor. The Step Grid is enabled.
Working with Patterns Pattern Basics ▪ By default, the Nudge Grid resolution is half a step, meaning that events will be nudged by half a step at a time. ▪ If you set the Nudge Grid resolution to a full step, the Nudge Grid will mirror the Step Grid and you can nudge events with the same resolution as when creating or quantizing events. ▪ You can also set the Nudge Grid resolution to a smaller fraction of the Step Grid resolution. This allows you to nudge events with even finer increments.
Working with Patterns Pattern Basics Enabling/Disabling and Adjusting the Step Grid To change the Step Grid resolution: 1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode. 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.
Working with Patterns Recording Patterns in Real Time → The new Nudge Grid resolution is directly in use, provided that the Step Grid is enabled (see above). 11.2 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 ↑11.2.1, Recording Your Patterns Live.
Working with Patterns Recording Patterns in Real Time Recording a Pattern: press PLAY then REC and hit some pads! 1. Press PLAY to start the sequencer. The PLAY button lights up. 2. Press REC to begin recording. The REC button lights up. 3. Now hit the pads you want to record and listen to what happens. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad. Events continue to be added to the Pattern, even as the Pattern cycles. 4.
Working with Patterns Recording Patterns in Real Time 4. Hit the pads you want to record. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad. Existing events for the selected Sound(s) are deleted as they are reached by the playhead. 5. When you’re done, press REC again to stop recording the pads. The ERASE and REC buttons turn off. The sequencer keeps playing until you press PLAY again.
Working with Patterns Recording Patterns in Real Time ▪ If no Pattern is selected, engaging record (in Overdub or Replace mode) automatically creates an empty Pattern with the default Pattern Length. The new Pattern is used at the beginning of the current Scene and repeated all along the Scene. You can adjust the default Pattern Length in the Defaults page of the Preferences panel. See section ↑3.7.1, Preferences – General Page for more information.
Working with Patterns Recording Patterns in Real Time 2. While holding REC, to adjust the Pattern Length for the Pattern in which you are about to record, you can turn Knob 4 (LENGTH) or press Button 5–8 to directly select from the four length presets available: 2, 4, 8, or 16 bars. 3. Release REC. → The Record mode is engaged (REC is lit) and the Pattern has the length you defined. Press PLAY to start the sequencer (if it’s not done already) and play the pads to start recording! See section ↑11.
Working with Patterns Recording Patterns in Real Time ▪ You can select custom sounds for the metronome’s downbeats and upbeats in the Preferences’ Default page (see section ↑3.7.4, Preferences – Default Page for more details). The time signature of the metronome can be set to differ from the time signature of your Project. This can be useful to record unusual rhythms in a Pattern.
Working with Patterns Recording Patterns in Real Time ▪ After the count-in phase, the recording starts in Overdub mode (see ↑11.2.1, 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 ↑11.2.3, 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 ► 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 ↑11.2.1, 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. Press SHIFT + GRID to show the record settings. 2.
Working with Patterns Recording Patterns with the Step Sequencer Step mode is a submode of Event Edit mode available on the PATTERN page of Arrange mode (see section ↑11.4.4, Editing Selected Events/Notes for more information on the Event Edit mode). Hence, it is very similar to the Event Edit mode. 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.
Working with Patterns Recording Patterns with the Step Sequencer Recording a Sequence 1. Set the focus on the Sound you want to record by pushing the 4-D encoder up or down or by holding SELECT and pressing the pad of the desired Sound (see section ↑3.3.7, Focusing on a Group or a Sound). 2. Press PLAY. You will see the playback position in the form of a light chasing through the pads, starting from pad 1, going up all four rows from left to right and ending at pad 16.
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 Pad Mode velocities are additionally indicated under each event in the display).
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 ↑11.1.
Working with Patterns Recording Patterns with the Step Sequencer 2. To adjust the events’ velocity, press the VOLUME (Velocity) button and turn the 4-D encoder. The adjusted value appears on the left display. 3. To finely adjust the events’ position, SWING (Position) button and turn the 4-D encoder. The adjusted value appears on the left display. 4. To adjust the events’ pitch, press TEMPO (Tune) button and turn the 4-D encoder. The adjusted value appears on the left display. 5.
Working with Patterns Editing Events A modulation value that is set for a step is valid for this step only. If you want it to affect several steps of the Pattern, hold all the corresponding pads while setting the modulation value. 11.4 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 ↑11.1.
Working with Patterns Editing Events ▪ Pencil mode: Provides quick actions for creating, resizing and deleting events/notes. Listed here are all available mouse actions from the Mouse Edit modes. For more details on specific actions, please refer to the other sections in ↑11.4, Editing Events. Mouse in Select Mode The following table is an overview of available mouse actions in Select mode (works in both Group view and Keyboard view, see ↑11.1.5, Group View and Keyboard View).
Working with Patterns Editing Events Action Function Editing Selected Notes* (see ↑11.4.4, Editing Selected Events/Notes for details) Drag note horizontally Moves selected notes in time according to the Step Grid. [Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step Grid quantization). (macOS: [Cmd] + drag note) [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid.
Working with Patterns Editing Events ► Click a note and move the mouse cursor with the button pressed to erase all notes under the mouse cursor. Only Notes for the selected Sound are erased. 11.4.2 Creating Events/Notes In the software you can create new events anywhere in the Event area using your mouse. The procedure depends on the active Mouse Edit mode (Select or Pencil). Each event is created at the beginning of the step in which your mouse cursor is located, according to the Step Grid settings.
Working with Patterns Editing Events Your controller offers numerous ways to create events — on your controller this is referred to as “recording Patterns.” For details on this please refer to section ↑11.2, Recording Patterns in Real Time and ↑11.3, Recording Patterns with the Step Sequencer. 11.4.3 Selecting Events/Notes Use Select mode to select events/notes in your Pattern. Select mode is the default mode indicated by the unhighlighted Pencil icon.
Working with Patterns Editing Events → If the Pattern Editor is in Group view this will select all events for all Sounds in the Pattern. If the Pattern Editor is in Keyboard view this will select all events at all pitches for the focused Sound. Selecting Events/Notes on the Controller Using your controller, you can quickly select particular events from the current Pattern and in order to edit them without affecting the other events. To select events in your Pattern: 1.
Working with Patterns Editing Events Selecting events on the controller with the pads in Pad Mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group. ▪ The right display shows a detailed view of a portion of your Pattern with events and their velocities for the focused Sound. You can adjust the right display as follows: 1. Turn Knob 5 to zoom in/out of events on the right display. 2. Turn Knob 6 to scroll events on the right display. 3.
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 Selection Tool Description Page buttons Drop the current selection and select the previous/next individual event for the focused Sound. Knob 1/2 (START/ END) Define the start and end points in the timeline for the selected event of the focused Sound. All events within this time interval are included into the selection. Knob 4 (EVENT) Selects individual events for the focused Sound using the events’ index number (their “order of appearance” in the Pattern).
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: You can adjust the right display as follows: 1. Turn Knob 5 to zoom in/out of events on the right display. 2.
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when you press them. Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad to add all notes at that pitch to the selection. The pad turns fully lit to indicate that all its notes are selected. You can press any additional dimmed pad to add its notes to the selection.
Working with Patterns Editing Events Selection Tool Description Knob 1/2 (START/ END) Define the selection’s start and end points in the timeline for the focused Sound. All notes within this time interval and within the pitch interval defined by LOW and HIGH (see below) are included into the selection. Knob 3/4 (LOW/ HIGH) Define the selection’s lowest and highest pitch for the focused Sound.
Working with Patterns Editing Events ◦ Fully lit pads indicate Sounds for which all events are selected: Press any lit pad to remove all its events from the selection (the pad turns dim lit). ▪ In Keyboard mode, each pad represents a specific pitch of the focused Sound: ◦ Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when you press them. ◦ Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad to add all notes at that pitch to the selection.
Working with Patterns Editing Events Action Function [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid (see quantizing rules below). 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).
Working with Patterns Editing Events To override the quantization and freely adjust the note position or size, hold [Ctrl] ([Cmd] on macOS) while dragging! 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.
Working with Patterns Editing Events Editing Selected Events/Notes on the Controller Your controller provides various features in order to edit the events you have selected. 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. ► Press EVENTS to enter Event Edit mode. → The EVENTS screen appears.
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: 1. Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respectively. 2.
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 ↑11.1.7, Adjusting the Step Grid and the Nudge Grid for more information on the Nudge Grid.
Working with Patterns Editing Events The following paragraphs will show you alternate editing functions available in the EDIT section of your controller. These functions also work outside Select mode. Nudge Events and Notes Nudging allows you to shift selected events by the Nudge Grid resolution (the events’ offsets relative to the Nudge Grid are preserved). 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.
Working with Patterns Editing Events Mouse in Select Mode ► To delete events in a Pattern, double-click them, alternatively, right-click (macOS: [Ctrl]click) and select Delete from the menu. This also works when multiple events are selected. If some events are selected, you can also press [Del] or [Backspace] on your computer keyboard to delete them. See section ↑11.4.3, Selecting Events/Notes to know how to select events. Mouse in Pencil Mode ► To delete an event, simply click it.
Working with Patterns Editing Events If you accidentally deleted events, press UNDO (in the EDIT section) to undo it! Deleting the Selected Events or Notes Once you have selected particular events (see ↑11.4.3, Selecting Events/Notes for more on this), you can delete them from the Pattern: ► Press SHIFT + pad 9 (CLEAR) to erase the selected events. If nothing is selected, all event/notes in the Pattern will be affected.
Working with Patterns Editing Events ► While playback is off, hold ERASE and turn the 4-D encoder to jump to the previous/next step and delete all events found on the way for the selected Sound(s). Please note the following: ▪ If multiple Sounds are selected, all of them will be affected. See section ↑5.1.3, Selecting Multiple Sounds or Groups for more information. ▪ The jumps are based on the step size that is on the Step Grid setting. See section ↑11.1.
Working with Patterns Editing Events If you have copied events from multiple Sounds as the Pattern Editor was in Group view, and then switch to Keyboard view before pasting the events, only the copied events from the Sound previously focused will be pasted in the new focused Sound.
Working with Patterns Editing Events ◦ If you haven’t changed the Sound focus but changed the playhead position, events are inserted with the first event starting at the playhead position. All following events will retain their position relative to the first event. ◦ If you have changed the Sound focus without changing the playhead position, events are inserted at the same timings as the original events.
Working with Patterns Editing Events 11.4.7 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 ↑11.1.7, 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 Quantize and Quantize 50% in the Pattern Editor context menu. To apply full or half quantization using the MASCHINE software: 1. Select the events in the Pattern Editor you want to quantize. If nothing is selected, the whole Pattern will be quantized. 2. To apply full quantization to the selected events, right-click the mouse and select Quantize from the context menu. 3.
Working with Patterns Editing Events To apply full or half quantization: 1. Select the events you wish to quantize. If nothing is selected, the whole Pattern content will be quantized. See ↑11.4.3, Selecting Events/Notes to know how to select events. 2. To apply full quantization to the selected events, press SHIFT + pad 5 (QUANTIZE). 3. To apply only a bit of quantization to keep the groove you created by playing your notes live, press SHIFT + pad 6 (QUANTIZE 50%).
Working with Patterns Editing Events ► Click the Quantize menu and select the desired Input Quantization mode from the three modes available (see their description above). Choosing an Input Quantization on Your Controller On your controller the Input Quantization can be configured via the recording settings: ► Press SETTINGS to show the recording settings. Turn Knob 5 (Quantize MODE) to select the desired Input Quantization mode from the three modes available (see their description above). 11.4.
Working with Patterns Editing Events ▪ Random: This mode provides randomly generated patterns or variations of your beats and melodies based on customizable values. Variation is available in both Pad mode and Keyboard mode and can be applied to a Sound. In Keyboard mode the Variation Random mode contains extra parameters that allow you to add variety to melodic content. When adding Variation to your Patterns, please be aware Random mode conforms to the selected Scale. To access Variation mode: 1.
Working with Patterns Editing Events Humanize Mode Parameters Element Description Apply Applies the current settings to the selected Sound. VELOCITY RANGE Velocity Lo Adjust notes with a velocity no lower than the set value. Velocity Hi Adjust notes with a velocity no higher than the set value. TIME SHIFT Step Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here.
Working with Patterns Editing Events Random Mode Parameters Element Description PROBABILITY (Keyboard mode) Probability Set the probability of how often a note is created. At 50% a note may or may not be created at each step. At 100% a note will be created at every step of pattern. Probability can be changed from 10-100% in 10% increments. Press SHIFT to change in finer increments of 1%. NOTE RANGE (Keyboard mode) Note Lo Create notes no lower than the set value.
Working with Patterns Editing Events Element Description Step Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here. Time shift can be changed from +/- 0-50% in 5% increments. Press SHIFT to change in finer increments of 1%. DISTRIBUTIONS Note Count (Keyboard mode) Fixed: The note count is fixed. The value set in the Note Count of the CHORDS section will take precedent here.
Working with Patterns Recording and Editing Modulation 11.5 Recording and Editing Modulation One of the really cool features of MASCHINE is the ability to modulate nearly all MASCHINE parameters both on the controller and in the software in a very easy way. In MASCHINE, modulation means the automatic change of MASCHINE parameters from an internal source (e.g., manual changes recorded via Auto-write…).
Working with Patterns Recording and Editing Modulation Please note that modulation and automation are not mutually exclusive: You can modulate a parameter in MASCHINE and automate it (e.g., from your host) simultaneously! As a result, the parameter value will deviate (according to the recorded modulation) from its moving value defined by the automation. 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.
Working with Patterns Recording and Editing Modulation ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button (EQ section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the Cue button in the Audio page. ◦ Group’s Input properties: the Root Note knob in the MIDI page. At the Sound and Group level the same parameters are both automatable and modulatable.
Working with Patterns Recording and Editing Modulation ▪ On the outer ring of the knob, the colored section (usually indicating the current parameter value) is replaced by a little segment indicating the modulated value. During playback this little segment follows the movement you have just recorded. The non-modulated value of the parameter is still indicated by the little white segment on the knob itself.
Working with Patterns Recording and Editing Modulation → Your modulation gets recorded now. Each Knob movement is stored in your Pattern as a modulation event. It will be automatically played with your Pattern upon its next cycle. 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 nonmodulated 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 macOS). To edit an existing modulation point, drag it vertically (you can also drag the horizontal segment following the point instead).
Working with Patterns Recording and Editing Modulation To create a new modulation track: 1. To create a new modulation track for a parameter of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area. 2. To create a new modulation track for a parameter of a Group, click the desired Group in the Group List (left of the Arranger) and click the GROUP tab in the Control area. 3.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE When you load a Plug-in in a channel (Sound or Group) its modulatable parameters will automatically show up in the menu of available parameters when this channel is focused. Resetting a Modulation Track ► To reset the modulation track of a parameter, right-click ([Ctrl]-click on macOS) the desired entry in the Modulator List and select Reset Modulator at the top of the menu.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE ▪ 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 ↑12.2.5, 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. At the end of the list of MIDI controls nearby, click the “+” to add a new MIDI track. A new entry appears at the end of the list reading Not assigned. 5. Right-click ([Ctrl]-click on macOS) this Not assigned entry and select the desired MIDI control from the context menu. 6. Add and modify events in the new MIDI track via same editing tools as for modulation tracks (see ↑11.5.3, Creating and Editing Modulation in the Control Lane).
Working with Patterns Managing Patterns 11.7.1 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. 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. 3. 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 Selecting a Pattern ► 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 has the following consequences: ▪ This Pattern is displayed in the software’s Pattern Editor. You can then modify it both from your controller and in the software. ▪ This Pattern is referenced by a Clip for the selected Group in the current Scene.
Working with Patterns Managing Patterns 11.7.3 Creating Patterns First of all, you don’t need to explicitly create a new empty Pattern before filling it with events: ▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the software or by recording pads on your controller) a new Pattern will be created for it! See section ↑11.4.2, Creating Events/Notes for more information on creating events.
Working with Patterns Managing Patterns → A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑16.3, Using Song View for more on this). 11.7.3.
Working with Patterns Managing Patterns 11.7.4 Deleting Patterns To delete a Pattern: 1. Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press the pad corresponding to the Pattern you want to delete. 4. Press Button 6 (DELETE). → The Pattern is deleted. Alternate Method 1. Press and hold PATTERN to enter Pattern mode. 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press ERASE + the pad corresponding to the Pattern you want to delete. → The Pattern is deleted.
Working with Patterns Managing Patterns 2. Click the “+” symbol under the last pad grid on the right to create another Pattern bank. → A new empty Pattern bank is created and its pad grid appears in place of the “+” symbol. If the last Pattern bank is empty, there is no “+” symbol under its pad grid and you cannot create any new Pattern bank. Deleting a Pattern Bank To delete a Pattern bank: 1. Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). 2.
Working with Patterns Managing Patterns If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 11.7.6 Naming Patterns You can replace the Patterns’ default names with custom names of your own. This can be done in the Pattern Editor, in the Pattern Manager or in the Arranger. Renaming Patterns in the Pattern Editor To rename the selected Pattern in the Pattern Editor: 1.
Working with Patterns Managing Patterns 3. On the right of the Pattern slot, click the little pen icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Rename from the context menu: The Pattern name gets highlighted and editable. 4. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Pattern is renamed.
Working with Patterns Managing Patterns 1. Double-click any Clip referencing the Pattern you want to name. The Clip turns to a text field and waits for your input. 2. Type a name and press [Enter] on your computer keyboard to confirm. → The Pattern is renamed. All Clips referencing this Pattern will mirror the new Pattern name. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with Patterns Managing Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Pattern slot or the corresponding cell in the pad grid and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Pattern is highlighted. 4. Select the desired color in the Palette. You can also choose to set the Pattern back to its default color by selecting Default at the bottom of the Color Palette. → The Pattern slot takes the new color you select.
Working with Patterns Managing Patterns 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from the slot’s context menu: 3. Select the Group in which you want to paste the Pattern’s content. 4. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again. The selected (or created) Pattern appears in the Pattern Editor. 5.
Working with Patterns Managing Patterns → The Pattern is copied to the target pad. The target pad starts flashing and you can further copy/paste it to other slots! This procedure has following benefits: ▪ You can paste the copy into the Pattern slot of your choice — empty or not. If the target Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
Working with Patterns Managing Patterns 4. While holding the mouse button, drag your mouse toward the desired location. As the mouse cursor moves, the potential target slots are highlighted or an insertion line appears at the potential places between slots where you can drop the Pattern slot. 5. When the desired slot is highlighted or when the insertion line appears at the desired location, release the mouse button. → The Pattern takes its new place.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns → The Pattern Length can now be adjusted in finer increments according to the value of the Step Grid. 11.8 Importing/Exporting Audio and MIDI to/from Patterns In the Pattern Editor you can quickly export MIDI and audio from Patterns and import MIDI to Patterns via drag and drop. 11.8.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. If you want to export a single Sound in the Group, you can switch the Pattern Editor to Keyboard view, put the focus on the desired Sound, and check that this Sound is not muted (see section ↑6.3.1, Mute and Solo) — otherwise the exported audio file will be silent! Alternatively you can let the Pattern Editor in Group view and solo this Sound. 4.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can export MIDI files using two methods: via drag-and-drop or via the Group/Sound context menu. Exporting MIDI via Drag-and-Drop You can render the selected Pattern to a MIDI file by simply dragging it onto the target location on your operating system or directly into a MIDI channel of your host software: 1. Select the Pattern you want to export MIDI from (see section ↑11.7.2, Selecting Patterns and Pattern Banks). 2.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select the Pattern you want to export MIDI from (see section ↑11.7.2, Selecting Patterns and Pattern Banks). 2. To export MIDI from the entire Group, switch the Pattern Editor to Group view and rightclick ([Ctrl]-click on macOS) the desired Group in the Group List (left of the Arranger) to open its context menu. You can also right-click ([Ctrl]-click on macOS) the Group name above the Sound List.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 11.8.3 Importing MIDI to Patterns You can import MIDI files (extension “.mid”) to Patterns. This allows you to use in MASCHINE MIDI files prepared with another application. This function is only available in the software. Importing MIDI data into a Pattern that already contains data (note, modulation tracks, and MIDI tracks) will replace that data.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the Group in the Group List and select Import MIDI… from the context menu. You can alternatively right-click ([Ctrl]-click on macOS) the Group name in the header above the Sound List and select the same entry. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Group in the Group List left of the Arranger. → The MIDI file will be imported to the selected Pattern of the Group according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ◦ For each Sound, MIDI notes will be imported at the default root note C3 — this ensures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦ The MIDI CC data will be copied to all Sounds for which MIDI notes have been imported.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import MIDI… from the context menu. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm. → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. Method 2: via drag and drop 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor). → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. If the Pattern Editor is in Keyboard view, you can also drag the MIDI file directly onto the Event area to import it into the focused Sound! Method 3: using the FILES pane of the Browser 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑4.6, Loading and Importing Files from Your File System to know how to use the FILES pane). 5. Double-click the MIDI file or click it and press [Enter] on your computer keyboard. → The MIDI file will be imported to the selected Pattern for the focused Sound according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser. 2. Drag and drop the multiple selection onto the desired Group in the Group List. → New Patterns will be created for that Group. Apart from this, each new Pattern receiving the data from one of the MIDI files. Apart from this, each MIDI file will be imported as a single MIDI file to that Group — see above for a detailed description.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 2. Drag and drop the multiple selection onto the desired Sound in the Sound List. → New Patterns will be created for that Sound in the Group, each new Pattern receiving the data from one of the MIDI files. Only this Sound will contain notes in these new Patterns. Apart from this, each MIDI file will be imported as a single MIDI file to that Sound — see above for a detailed description.
Audio Routing, Remote Control, and Macro Controls 12 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: ↑12.1, Audio Routing in MASCHINE.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1 Audio Routing in MASCHINE MASCHINE offers a powerful audio routing system that you can finely customize to fit your specific needs. To make it short, by default the various channels of MASCHINE are structured in a simple, hierarchical way: ▪ At the bottom level, each Sound has its own channel. The output of the Sound’s channel is sent to its parent Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Mix View or Arrange View? When it comes to adjusting audio and MIDI routings, the Mix view can sometimes be the most efficient way to do: The familiar mixing desk layout allows you to quickly find the parameters you are looking for and adjust the routing on the fly. Hence, in the following sections we describe the procedures in both Arrange view and Mix view.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Input properties is available for Sounds only. MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the features of the Input Module available in previous MASCHINE versions. The Audio page of the Input properties for a Sound in the software. The AUDIO page of the Input properties for a Sound on the controller. Please refer to section ↑3.3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Source Selects an external audio input to be routed to the Sound. Available entries are None (no external input) and the four external stereo inputs Ext. 1–4, as well as any additional output(s) of multipleoutput Plug-ins loaded in other Sounds of the same Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. This is equivalent to setting the Source parameter described above. 6. Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any. Similarly, by default the outputs of all Groups are sent to the Master, where they are mixed together and processed by the Plug-ins loaded in the Master, if any.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller. Controls Description AUDIO Section Dest. Selects where you want to send the main audio output of your channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Pan Defines the pan position of the channel in the stereo field. Audio Mute (Sounds only) If you enable Audio Mute, muting this Sound will not only bypass its events but also mute its audio output, thereby muting any audio tails from notes already played. See section ↑6.3.1, Mute and Solo for more information. If MASCHINE is running as a plug-in, the external stereo outputs Ext.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Pad Mode. In Keyboard mode, the knobs are not visible. Configuring the Main Outputs of Sounds and Groups in Mix View You can also easily configure the outputs of your Sounds and Groups in MASCHINE’s Mixer: 1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. To select another destination for the channel’s output, click the first area under the level meter, and select the desired destination in the menu. This is equivalent to setting the Dest. parameter described above. 12.1.3 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 ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Aux page of the Output properties in the software and from your controller. Controls Description AUX 1 / AUX 2 Section Dest.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Level Adjusts the level of the signal sent to the Aux 1 or Aux 2 output. Order If Order is set to Pre, the channel will be fed into Aux 1 or Aux 2 before the Level and Pan settings of the MAIN section on the Audio page are applied. If Order is set to Post (default setting), the Level and Pan settings of the main output also affect the signals sent to the auxiliary outputs.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Check that the AUX button is active on the left of the Mixer — if not, click it to enable it and display the settings for the auxiliary outputs of each channel strip. 4.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 6. Adjust the level for that auxiliary output via the little knob at the right of the menu. This is equivalent to setting the Level parameter described above. 7. Set the pre/post state of the auxiliary output by clicking the Post (or Pre) label right under the menu. This is equivalent to setting the Order parameter described above. 12.1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Output properties for the Master in the software. The AUDIO page of the Output properties for the Master on the controller. Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description CUE Section Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1– 16. By selecting a different output from the one used for the main stereo output, you can effectively pre-listen on this additional output (e.g., on your headphones) any channel(s) currently sent to the Cue bus.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath. In this Master/Cue channel strip, do the following to configure the output of the Master channel: 1. Click Master in the strip’s header to show the controls for the Master channel. 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. To select another destination for the Master output, click the first area under the level meter and select the desired destination in the menu. This is equivalent to setting the Output parameter in the MAIN section (see above). In this Master/Cue channel strip, do the following to configure the output of the Cue channel: 1. Click the headphone icon in the strip’s header to show the controls for the Cue channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the CUE section, respectively (see above). 3. To select another destination for the Cue 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 MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external mono or stereo input. The same external signal can be fed into any number of Sounds. For example, this allows you to process any external audio signal using the plug-ins loaded in a Sound, and more generally, integrate external audio signals into the MASCHINE routing and processing system.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 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.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. 6.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2 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 ↑12.2.5, Sending MIDI from Sounds. 12.2.1 Triggering Sounds via MIDI Notes MASCHINE allows you play your Sound(s) via MIDI (e.g., from a MIDI keyboard).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ MIDI input settings of a Sound and its parent Group are merged: For example, if you configure a Group to react to incoming notes on MIDI channel 1, but one Sound is setup to react to incoming notes on MIDI channel 2, then this Sound will react to one incoming note on MIDI channel 1 and all incoming notes on channel 2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Input properties (here for a Group) on the controller. Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Input properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description MIDI ROUTING Section Key Mode (Pad Mode only) Enables the MIDI note input for the selected Group (disabled by default). Please refer to your host documentation to find out how to route MIDI signals to your MASCHINE plug-in. Key Mode offers the following options: Off: Select this option to disable MIDI note input for the selected Group.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Source (stand-alone and Select the MIDI port on which the Sound or Group will receive MIDI in Manual mode only) notes. Available entries are None (MIDI note input disabled, default setting), All (MIDI notes are received on all enabled input ports), and each enabled MIDI input port.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Some of these parameters also affect MIDI file import: The Channel parameter of a Sound will be used when importing a multi-channel MIDI file to its Group, while the Root Note parameter will be used when importing a single-channel MIDI file to the Group. For more information on MIDI file import please refer to section ↑11.8.3, Importing MIDI to Patterns.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. Above the fader area in the channel strip of the Sound or Group you want to configure, click the bigger field on the right (labeled MIDI IN by default) and select the desired MIDI port in the menu.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 5. Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above. 12.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes. When MASCHINE runs as a Plug-in this MIDI data is sent to the host application.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 4. If necessary, reopen the same submenu and select the MIDI channel the Scene changes should receive MIDI messages from (channel 1 by default). MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from the MIDI source. Corresponding Lock snapshots will not be recalled. 5.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Modulation Automation Source of control Internal (e.g., changes recorded via Auto-write) External (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. In the left part of the Assignment area, click the Automation tab: → The Automation tab lights up and the Automation pane appears on its right. You are now ready to configure MIDI and host automation for the parameters in the current Parameter page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A MIDI CC assignment for the current Parameter page. A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host automation IDs to MASCHINE parameters. Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ Plug-ins: ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button (EQ section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the Cue button in the Audio page. ◦ Group’s Input properties: the Root Note knob in the MIDI page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. On the left of the Assignment area, click the Automation tab to show the Automation pane, then in this pane click the Host tab. 3. Click the Enable label in the Assignment field under any unassigned parameter to automatically assign that parameter to the next free automation ID. → The Assignment field displays the automation ID for that parameter. The parameter is ready to be controlled from your host.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation → The previous automation ID is removed from the Assignment field and the parameter is not available anymore for host automation. For more information on how to automate VST/AU plug-in parameters from your host, please refer to your host documentation. Assigning MIDI Controls to Parameters Assigning a MIDI control to a parameter in MASCHINE is done via an intuitive Learn mode: 1.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Click Learn in the Assignment field of a parameter to enter Learn mode for that parameter. The Assignment field shows a blinking Learning. 4. Move the desired control element (knob, button, etc.) on your MIDI controller. → The Assignment field automatically displays the MIDI message type received (CC number, PC for Program Change, or PW for Pitchbend). The parameter is ready to be controlled via MIDI.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ► Right-click ([Ctrl]-click on macOS) the non-empty Assignment field under a parameter and select Unlearn in the menu to remove the MIDI assignment for that parameter. → The MIDI assignment is removed from the Assignment field and the parameter is not controllable via MIDI anymore. Of course, this procedure also works for Native Instruments and External Plug-ins loaded in MASCHINE. 12.2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2.5 Sending MIDI from Sounds Your Sounds can output MIDI notes and automation data to the outside world, allowing you to control any MIDI-capable application and/or external MIDI gear from MASCHINE’s sequencer. With its MIDI output enabled, a Sound will send: ▪ MIDI notes corresponding to the notes played by that Sound in the current Pattern. ▪ MIDI notes corresponding to your hits on the pads.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Output properties for a Sound on the controller. Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Output properties in the software and from your controller. Control Description MIDI Section Dest. Selects the MIDI port on which the Sound will send MIDI data.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description Channel Selects the MIDI channel on which the Sound will send MIDI data. By default Sound slot 1 will send MIDI data on channel 1, Sound slot 2 on channel 2, etc. Transpose Applies an offset to the MIDI note numbers before the notes are sent. Values range from -48 (downward transposition by 48 semitones, i.e. four octaves) to +48 (upward transposition by 48 semitones, i.e. four octaves).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group. The Mixer displays the channel strips of all Sounds in the selected Group. 5.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 6. Click the little field on its right to select a MIDI channel. This is equivalent to the Channel parameter described above. 12.3 Creating Custom Sets of Parameters with the Macro Controls Macro Controls enable you to control in one same location a selection of parameters coming from different sources.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties (here for a Sound) on the controller. Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Macro properties in the software and from your controller. 12.3.1 Macro Control Overview Each Macro Control can be assigned to one destination with the full range of the selected parameter.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Linking the same parameter to more than one Macro Control can be useful in the following example: If a parameter of a Sound is particularly important, you can link it to the same knob in the Macro Controls of that Sound, of its parent Group, and of the Master.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls ⇨ The parameter is assigned as a Macro and you can see your assignments by selecting Macro in the Channel properties and selecting the Macro level (MASTER, GROUP or SOUND) where you assigned the Macro Control. 4. To remove a Macro, right-click the parameter again and select Remove Macro. → The selected Macro is removed.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Once the Assignment area is open, when you switch to other Parameter pages the Assignment area follows your selection: it always shows the assignments for the page currently displayed above. The Pages tab can be clicked only for Plug-ins, External MIDI device Control Change assignments, and for Macro properties.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls include all following parameters until the next section starts (this can be seen only after you have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its section(s) — if there are more than one section, the page label will mirror all of them, separated by slashes. (4) 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 ties of the Master you will see the Groups subcategory listing all Groups of your Project, and if you are editing the Macros of a Group you will see the Sounds subcategory listing all Sounds in that Group, and if you are editing the Macro properties of a Sound you will see the MIDI menu item which upon selection lists all available Control Change messages that can be assigned to a Macro Control.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro. Cut Cut the Macro to paste it in another position. Ctrl + X / Cmd + X Copy Copy the Macro. Ctrl + C / Cmd + C Paste Paste a cut or copied Macro to a new position.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control Area Assignment Pages context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 12.3.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls → The parameter is assigned as a Macro and a small icon will appear next to the parameter name. You can see the Macro assignments for each level by pressing the MACRO button on your controller and selecting the Macro level (MASTER, GROUP or SOUND). Macro Controls are saved with a MASCHINE Project, so don’t forget press SHIFT + FILE (Save) once you have assigned all your Macros.
Controlling Your Mix Mix View Basics 13 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 views and the Mix view. ► Press the MIXER button to display Mix view on the controller. Press the MIXER button again to return to the previous view. 13.1.
Controlling Your Mix Mix View Basics 1 2 3 The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom. (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project. You can change these settings on the fly, select or put the focus on any channel, etc.
Controlling Your Mix The Mixer 13.2 The Mixer Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and routing settings of different channels in one go. The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
Controlling Your Mix The Mixer ▪ Which of the Sound or Group level is selected for displaying: ↑13.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑13.2.2, Adjusting the Mixer Layout. 13.2.1 Displaying Groups vs. Displaying Sounds The Mixer provides two display modes, allowing you to focus on the current context: ▪ Group level: The Mixer shows channel strips for all Groups of your Project.
Controlling Your Mix The Mixer In this mode the desk’s input strips (1) represent all Groups of your Project, while the output strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the headers of all your Groups and of the Master/Cue channel (3). The focused channel is highlighted.
Controlling Your Mix The Mixer → If the Mixer was displaying Sound strips beforehand, it will display all Group strips instead, and the Group you have double-clicked will be focused. If the Mixer was displaying Group strips beforehand, it will instead display all Sound strips of the Group that you have double-clicked. The last focused Sound slot in that Group will be focused again.
Controlling Your Mix The Mixer Showing/Hiding Particular Sections of the Strips Both when displaying all Group channels or all Sound channels of a particular Group, the Mixer allows you to select which sections you want to show or hide in the strips currently displayed. This is done via the three buttons on the left of the Mixer, under the arrow expanding the Mixer: Choosing what to display in the channels.
Controlling Your Mix The Mixer ▪ When the Mixer displays the Sound strips of a Group, when you click another Group header in the top row the Mixer will stay at the Sound level and directly display to the Sound strips of this other Group. ▪ You can select more than one channel strip among the strips displayed. The focused strip is always selected. The multiple selection follows the same rules as in Arrange view (see section ↑5.1.3, Selecting Multiple Sounds or Groups).
Controlling Your Mix The Mixer The channel’s context menu provides the exact same entries as in Arrange view. Following management commands are available in the Mixer: Management Command Action Renaming channels Double-click the channel name in the header, type the desired name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also open the channel’s context menu and select Rename. See section ↑5.2.3, Renaming Sound Slots and ↑5.3.3, Renaming Groups.
Controlling Your Mix The Mixer 13.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the various Plug-ins loaded in the channel, then goes through the pan and level controls, and finally arrives to the output routing settings at the bottom.
Controlling Your Mix The Mixer Available Settings in Sound/Group Channel Strips We list here all the elements available in a full channel strip. For each element we indicate the basic operation and the corresponding parameter in Arrange view. If some of the settings are not visible, check that the Mixer is not minimized and that the relevant button is enabled at the left of the Mixer — see section ↑13.2.2, Adjusting the Mixer Layout for more information.
Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ↑13.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ↑13.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also use the Rename entry in the channel’s context menu.
Controlling Your Mix The Mixer This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange view. For all details, see section ↑7.1, Plug-in Overview. (5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue state. Following actions are available: ▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level parameter in the Audio page of the channel’s Output properties (see ↑12.1.
Controlling Your Mix The Mixer (8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if the IO button is enabled on the left of the Mixer. Click the MIDI OUT label to select a MIDI output port, then select a channel via the additional menu on the right. These controls are equivalent to the Dest. and Channel selectors in the MIDI page of the Sound’s Output properties (see ↑12.2.5, Sending MIDI from Sounds). Parameter modulation is not indicated in the Mixer.
Controlling Your Mix The Mixer ▪ Metronome (see section ↑11.2.3, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ↑17.2.2, Selecting the Source and the Recording Mode) or slicing Samples (see section ↑17.4, Slicing a Sample). Sending Sound and Group Channels to the Cue Bus ► In any channel strip, click the little headphones button to send this channel to the Cue bus. → The headphones button lights on.
Controlling Your Mix The Plug-in Chain 2. Click the headphone icon in the Master header. → The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue channel’s level and panoramic position, along with the destination you want to send the Cue channel to. As destination, choose for example another output pair into which you will have plugged your headphones. These settings are described in section ↑12.1.4, Configuring the Master and Cue Outputs of MASCHINE. 13.
Controlling Your Mix The Plug-in Strip ▪ Click the little square on the left of a Plug-in name to bypass this Plug-in slot (bypassed slots are grayed out). Click the little square again to unmute the Plug-in slot and insert the Plug-in back into the processing chain. See section ↑7.1.5, Bypassing Plug-in Slots for more information.
Controlling Your Mix The Plug-in Strip ▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑13.4.1, The Plug-in Header. ▪ Internal Effects and Drumsynths have their own custom panels: ↑13.4.2, Panels for Drumsynths and Internal Effects. ▪ The Sampler Plug-in has a special, extended panel: ↑13.4.3, Panel for the Sampler. ▪ Native Instruments Plug-ins provide dedicated panels inspired from the user interface of each particular Native Instruments product: ↑13.4.
Controlling Your Mix The Plug-in Strip Use the horizontal scroll bar to display the other Plug-in panels. If the MASCHINE window is not high enough for any Plug-in panel to be displayed entirely, a vertical scroll bar appears on the right of the panel to display the hidden part: Use the vertical scroll bar to display the rest of the Plug-in. 13.4.
Controlling Your Mix The Plug-in Strip 2 3 4 1 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑13.4.4, Custom Panels for Native Instruments Plug-ins for more on this.
Controlling Your Mix The Plug-in Strip 13.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top. This Header contains the name of the current preset and the Quick Browse icon — see section ↑13.4.
Controlling Your Mix The Plug-in Strip For an exhaustive description of the parameters available in each panel, please refer to chapter ↑9, Using the Drumsynths for Drumsynths and chapter ↑15, Effect Reference for Internal Effects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the value of modulated parameters might change even if their control element doesn’t move in the panel. See section ↑11.
Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane 1 2 3 7 4 6 5 The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides the same features as the waveform found in the Sample view of the Zone page in the Sample Editor: Start and End markers, zooming, etc. For more details, see section ↑17, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parameters from the Pitch/Envelope page in the Control area. For more details, see section ↑7.2.2, Page 2: Pitch / Envelope. (5) SATURATION, LO FI, and FILTER sections: Allows you to adjust the parameters from the FX/ Filter page in the Control area. For more details, see section ↑7.2.3, Page 3: FX / Filter.
Controlling Your Mix The Plug-in Strip The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample Map: Allows you to adjust the key and velocity ranges of your Zones. This the same as the Map view available in the Zone page of the Sample Editor. For more details, see section ↑17, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of ABSYNTH 5: MASCHINE - Manual - 672
Controlling Your Mix The Plug-in Strip ▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE - Manual - 673
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 ↑13.4.1, The Plug-in Header above for more details.
Controlling Your Mix The Plug-in Strip Click the little “+” in the Header to switch between Default and Additional view. macOS users: The VST plug-in of a Native Instruments product must be installed for this product’s Default view (and Additional view, if any) to appear in the Plug-in Strip. If you normally use the AU version of this Native Instruments product, please check that its VST version is also installed on your computer to ensure the perfect integration of this plug-in into MASCHINE.
Controlling Your Mix The Plug-in Strip When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin Plug-in placeholder (see below). Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu. MASCHINE will always show the open floating windows of the focused channel (Sound, Group or Master). In this channel you can have as many open floating windows as you see fit.
Controlling Your Mix Controlling Your Mix from the Controller ▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s elements described in section ↑13.4.
Controlling Your Mix Controlling Your Mix from the Controller In Mix mode the displays show channel strips for your Sounds and Groups: 13.5.1 Navigating Your Channels in Mix Mode Like the Mixer in the software, the Mix mode lets you choose to display channel strips at the Group level (i.e. all your Groups) or at the Sound level (i.e. all Sound slots of the Group currently focused). At both levels channels are organized into groups of eight channels (four on each display).
Controlling Your Mix Controlling Your Mix from the Controller The channel strips on the displays represent the Sound slots of the focused Group. At the top of the displays you see two rows: ▪ The first row contains the headers of your Groups. The header of the focused Group is highlighted. ▪ The second row contains the headers of the Sound slots in the focused Group. The header of the focused Sound slot is highlighted.
Controlling Your Mix Controlling Your Mix from the Controller In each channel strip the peak value is indicated above the level meter. This peak value is reset each time you start the playback via PLAY or RESTART on your controller, or when you click the corresponding peak value in the software’s Mixer (see section ↑13.2.5, Adjusting Settings in the Channel Strips). See also 2 Adjusting Settings in the Channel Strips [➙ 656] 13.5.
Using Effects Applying Effects to a Sound, a Group or the Master 14 Using Effects At each Project level (Sound, Group and Master) it is possible to add effects in form of Plugins. Each Sound, each Group and the Master can have an unlimited number of insert effects loaded in their Plug-ins slots. In each Plug-in slot you can load an Internal, Native Instruments or External Effect Plug-in.
Using Effects Applying Effects to a Sound, a Group or the Master Choose the Channel in Which the Effect Is to Be Inserted 1. If you want to apply the effect to the Master (to process the audio of the whole Project), click the MASTER tab in the top left corner of the Control area. 2. If you want to apply the effect to a Group (to process the audio of the whole Group), click the desired Group on the left of the Arranger, and click the GROUP tab in the top left corner of the Control area. 3.
Using Effects Applying Effects to a Sound, a Group or the Master Load the Effect in a New Slot 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins of the selected channel: The icon lights up. The Plug-in List appears nearby, showing a stack of all Plug-ins already loaded in the channel: In the Plug-in List each Plug-in has its own slot. 2. Click the “+” icon under the last Plug-in in the list (or at the top if the list is empty).
Using Effects Applying Effects to a Sound, a Group or the Master If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows all available Instrument Plug-ins. 3. Click the desired entry in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (for Native Instruments products) or External (for third-party products) submenu at the top of the list.
Using Effects Applying Effects to a Sound, a Group or the Master Notes and Hints on Loading Effects in the Software ▪ Instead of clicking the “+” icon to load the effect in a new slot, you can also click the down-pointing arrow on the right of an existing slot to open the Plug-in menu: The effect selected in the menu will replace the Plug-in currently loaded in that slot. ▪ Instead of using the Plug-in menu, you can also use the Browser to load a particular preset for an effect.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If it’s not already open, open the extended view of the Mixer by clicking the down-pointing arrow at the left of the Mixer: 3. Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display the Plug-in List in each channel strip. Then, put the focus on the channel (Master, Group or Sound) in which you want to load the effect: 1.
Using Effects Applying Effects to a Sound, a Group or the Master 3. To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel strips, in the Mixer’s top row double-click the blank space in the header of the Group containing the desired Sound, then click the header of the desired Sound in the row below.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If you want to apply the effect to the Master (to process the audio of the whole Project), press Button 1 to select the MASTER tab. 3. If you want to apply the effect to a Group (to process the audio of the whole Group), press Button 2 to select the GROUP tab and press the Group button A–H corresponding to the desired Group.
Using Effects Applying Effects to a Sound, a Group or the Master 10. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly. 11. Leave the Plug-in Browser and switch back to Control mode by pressing the 4-D encoder or PLUG-IN. → The effect is loaded in the selected Plug-in slot and it is automatically displayed on your controller.
Using Effects Applying Effects to a Sound, a Group or the Master 14.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably includes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc. Here we provide a reminder of every operation available on the effects both in Arrange view and Mix view.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Bypass an effect Click the FX icon (in Arrange view) or the little square (in Mix view) at the left of the effect name in the Plug-in List. Click again to re-enable the effect. Save the current effect settings as preset Open the Plug-in menu, and select Save As… at the bottom of the menu.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Insert another effect after the Press SHIFT + Button 3. selected effect The Browser automatically opens and lets you select the desired effect preset to be inserted after the Plug-in currently selected. Replace the effect Use the Plug-in Browser (press SHIFT + BROWSE) or the Browser (BROWSE) as described in section ↑14.1.1, Adding an Effect above. Remove the effect Press SHIFT + Button 8.
Using Effects Applying Effects to a Sound, a Group or the Master What Is a Side-Chain Input? If we consider an effect unit that processes the signal incoming at its main input, side-chaining means using a secondary signal (the “side-chain signal”) fed to a secondary input of the unit (the “side-chain input”) to control the behavior of the processing. Usually the amplitude of the side-chain signal will determine how much the main signal will be processed by the unit.
Using Effects Applying Effects to a Sound, a Group or the Master The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access Parameter pages. The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
Using Effects Applying Effects to External Audio Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Center Freq Adjusts the center frequency of the filter. Width Adjusts the bandwidth of the filter.
Using Effects Applying Effects to External Audio If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from your host on any of its eight mono virtual inputs. To know how to route audio in your host to the virtual inputs of the MASCHINE plug-in, please refer to your host documentation. When this is done, go directly to section ↑14.2.2, Step 2: Set up a Sound to Receive the External Input.
Using Effects Applying Effects to External Audio Any audio source plugged into the first input of your audio interface will be available on the In 1 L input of MASCHINE, and so on. See ↑3.7.2, Preferences – Audio Page for more information on the Audio page of the Preferences panel.
Using Effects Applying Effects to External Audio MASCHINE in Plug-in Mode If MASCHINE is running as a plug-in in a host environment, the MASCHINE plug-in can receive audio from the host only. Please refer to your host documentation to find out how to route audio channels to the virtual audio inputs of the MASCHINE plug-in. In this example, we will assume that you routed some audio channels of your host to the first virtual input pair of MASCHINE. 14.2.
Using Effects Applying Effects to External Audio 5. Turn Knob 1 to set the SOURCE to Ext. 1. → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). Method 2: Using the Navigate Page 1. Press Button 5 repeatedly until the Input properties are selected (you should see INPUT at the top left of the right display, under Button 5/6). 2. Press SHIFT + NAVIGATE + pad 1 to select the Audio Parameter page.
Using Effects Applying Effects to External Audio → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). 14.2.3 Step 3: Load an Effect to Process an Input Here we describe the procedure in Arrange view. You can also do this in Mix view — see section ↑14.1.1, Adding an Effect. You can now insert an Effect Plug-in into this Sound so that it processes the incoming audio. 1.
Using Effects Creating a Send Effect 3. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (Native Instruments products) or External (third-party products) submenu at the top of the list. → Upon your selection the effect is loaded in a new Plug-in slot and directly starts to process your external audio! Loading an Effect to Process an Input on the Controller On your controller: 1.
Using Effects Creating a Send Effect ▪ Step 1: Set up a Sound or Group as send effect. This is done by loading an effect into its first Plug-in slot: ↑14.3.1, 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: ↑14.3.2, Step 2: Route Audio to the Send Effect. 14.3.
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 ↑5.2.3, Renaming Sound Slots. Set Up a Sound as Send Effect on the Controller 1. Press the PLUG-IN button to enter Control mode and show the Plug-in slots. 2. Press Button 3 to select the SOUND tab 3. Press the Group button A–H of the Group containing the empty Sound you want to use.
Using Effects Creating a Send Effect 9. When you have found the effect you want to use (e.g., the MASCHINE Compressor), press the 4-D encoder or Button 8 to load it. You can also use Button 5/6 to step through the list and load each effect directly. 10. Switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT + BROWSE again). → Now you can edit the effect parameters using Knobs 1–8 and the Page buttons as usual (see ↑3.3.
Using Effects Creating a Send Effect 14.3.2 Step 2: Route Audio to the Send Effect Once you have configured a Sound or Group as send effect (see ↑14.3.1, Step 1: Set Up a Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to that Sound or Group. For this purpose, each Sound and each Group is equipped with an additional two auxiliary outputs available in its Output properties. Here we describe the procedure in Arrange view.
Using Effects Creating a Send Effect 4. Press Button 5/6 to select OUTPUT. The Output properties are shown in the displays of your controller (in the example underneath we show the Output properties of a Sound). 5. Press the right Page button to select the Aux page of parameters. 6. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect.
Using Effects Creating a Send Effect and number followed by the Sound number (in the example underneath we selected the entry A1:S1-1 for the Aux 1 output). 7. Use Knob 2 (Aux 1 LEVEL) to adjust the level of the signal sent to that auxiliary output. The signal of each auxiliary output is taken by default after the main output level control has been applied. This can be changed via Knob 3 (Aux 1 ORDER). For more information, please see section ↑12.1.3, Setting Up Auxiliary Outputs for Sounds and Groups.
Using Effects Creating Multi-Effects When setting up complex routings, please take care to avoid feedback loops! In addition, the following points are worth noting: ▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many Sounds and Groups instead of loading another reverb in each Sound/Group makes a big difference on the CPU load. You can adjust at which extent the reverb must be applied on each Sound/Group via the respective Level controls in their Output properties.
Using Effects Creating Multi-Effects ▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plugin List in a single Sound. ▪ You can rename and colorize each Sound individually according to the effect(s) it contains. ▪ You have a better control on your whole effect sequence from your controller. ▪ You can easily re-arrange your effect sequence by changing the routing between your Sounds.
Using Effects Creating Multi-Effects However, take time to name every Sound in this multi-effect Group after the effect(s) inserted and to give it a name that allows you to recognize it as an effect; remember that you will be choosing this effect from a potentially large list in your user library. In the MASCHINE Library there are already a number of multi-effect Groups tagged Multi FX: Groups of the Multi FX type in the LIBRARY pane.
Effect Reference 15 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 15.1 Dynamics 15.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dynamic range. In addition to the legacy Classic mode, the Compressor provides an alternate Feedback mode. If this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the Control area and on your controller).
Effect Reference Dynamics Parameter Description MODE Section Mode Selects between two operation modes: Classic (default setting) and Feedback. Whereas Classic mode generates a cleaner and more precise compression, Feedback mode introduces a subtle change in transient shape and frequency responsiveness. The memory-based envelope detection along with the kneedependent ratio and gain give this mode a typical vintage feel.
Effect Reference Dynamics The Compressor on the controller: MAIN page. Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Level Meters in the Compressor Panel (Plug-in Strip) In the Plug-in Strip, the Compressor panel offers a few extra features not available in the Control area: ▪ The Threshold and Gain faders (corresponding to the Threshold and Gain parameters of the Main page in the Control area) provide level meters for visual monitoring of the input and output levels.
Effect Reference Dynamics Main Page The Gate in the Control area: Main page. Parameter Description DEPTH Section Threshold This value determines the threshold at which the Gate starts to work. Higher values will let only the loudest parts of the signal through the Gate.
Effect Reference Dynamics The Gate on the controller: MAIN page. Side-Chain Input Page The Gate in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Gate Panel (Plug-in Strip) In the Plug-in Strip, the Gate panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level. By comparing this input level with the position of the Threshold fader, you can easily see you which parts of the signal will pass through the Gate. 15.1.
Effect Reference Dynamics The Transient Master in the Control area. Parameter Description DEPTH Section Input Gain Adjusts the level of the input signal. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur. Attack Sharpens/softens the attack phases in your signal. With the knob at the middle position, the attack phases are not altered.
Effect Reference Dynamics The Transient Master on the controller. 15.1.4 Limiter The Limiter does two things: firstly it ensures that the signal level stays below 0 dB, thus preventing digital clipping. But it can also increase the overall perceived volume by reducing the threshold. It is recommended to place the Limiter in a Master Plug-in slot. However, please note that the Limiter introduces a small latency.
Effect Reference Dynamics Main Page The Limiter in the Control area: Main page. Element Description MODE Section Mode Selects from two different limiter types. The available modes are Legacy and Transparent. DEPTH Section (Transparent mode only) Threshold This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB; if you want to make your signal louder, dial the Knob to the left. Available values range in decibels from -40.
Effect Reference Dynamics The Limiter on the controller: MAIN page. Side-Chain Input Page The Limiter in the Control area: Side-Chain Input page. The Modulation page contains one parameter: Velocity.
Effect Reference Dynamics Element Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds, and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: ▪ For Groups: [Group name] (e.g., Drums) ▪ For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Limiter Panel (Plug-in Strip) In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level.
Effect Reference Dynamics Parameter Description DEPTH Section Amount This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal. Curve Controls the compression knee; higher values tend to result in faster and more aggressive gain control. Turbo Turbo intensifies the effect the Maximizer has on the signal by causing the maximizing algorithm to be applied twice. The Maximizer on the controller: MAIN page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 15.2 Filtering Effects 15.2.1 EQ Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can also be used as a DJ-style cut-and-boost effect. Please note that in the Control area and on your controller the EQ parameters are spread over two pages. The EQ panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. LOW-MID Section Freq Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. HIGH-MID Section Freq Frequency selector for the second mid-frequency band.
Effect Reference Filtering Effects The EQ on the controller: FREQ / GAIN page. Width / Output Page The EQ in the Control area: Width / Output page. Parameter Description LOW-MID Section Width Bandwidth control for the first mid-frequency band. HIGH-MID Section Width Bandwidth control for the second mid-frequency band. OUTPUT Section Gain Gain control for the EQ altogether.
Effect Reference Filtering Effects 15.2.2 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 Defines how much the Filter gets modulated by the modulation source. Source Select between three different modulation sources: LFO, LFO Sync, and Envelope.
Effect Reference Filtering Effects The Filter on the controller: MAIN page. Side-Chain Input Page The Filter in the Control area: Side-Chain Input page.
Effect Reference Filtering Effects Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 15.2.3 Cabinet The Cabinet Emulation is a cabinet and microphone component that proves full control over all the (post-amp) stages of recording a guitar tone. Cabinet Emulation includes the four cabinet types, and the variable positioning of six different microphones. The Cabinet Emulation effect in the Plug-in Strip. The Cabinet Emulation in the Control area (Main page depicted).
Effect Reference Modulation Effects Element Description ▪ Vintage Cabinet ▪ Modern Cabinet MICROPHONE Section Microphone Selects from six different microphone types, which includes: ▪ Dynamic 57 ▪ Dynamic 421 ▪ Dynamic 441 ▪ Ribbon 121 ▪ Condenser 47 ▪ Condenser 67 Distance Adjusts the distance of the microphone from the cabinet. Available values range from 0.0 to 100.0% (default: 0.0%). OUTPUT Section Mix Adjusts the ratio between the effect (wet) signal and original (dry) signals.
Effect Reference Modulation Effects The Chorus panel in the Plug-in Strip. The Chorus in the Control area. Parameter Description MOD Section Rate The Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated. Amount The amount of the Chorus effect. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Modulation Effects The Chorus on the controller. 15.3.2 Flanger Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the Chorus, but the difference between them is that the Flanger modulates the signal faster, it is equipped with a feedback mechanism, and can be synchronized to the tempo of the Project. The Flanger panel in the Plug-in Strip.
Effect Reference Modulation Effects The Flanger in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Flanger. Feedback Adjusts the amount of output signal fed back into the input. Invert Inverts the Flanger. MOD Section Amount This defines how much the Flanger gets modulated by the modulation source. Source Here you can select the modulation source of the Flanger: available options are LFO, LFO Sync, and Envelope.
Effect Reference Modulation Effects The Flanger on the controller. 15.3.3 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. 15.3.5 Phaser Classic phaser with LFO and envelope modulation. The Phaser panel in the Plug-in Strip. The Phaser in the Control area.
Effect Reference Modulation Effects Parameter Description MAIN Section Frequency This defines the center frequency of the Phaser. Feedback Adjusts the amount of output signal fed back into the input. 8Pole Activating this causes the Phaser to use the 8Pole mode, resulting in a more intense phasing effect. MOD Section Amount This defines how much the Phaser gets modulated by the modulation source.
Effect Reference Spatial and Reverb Effects The Phaser on the controller. 15.4 Spatial and Reverb Effects 15.4.1 Ice This is a special reverb for getting cold and metallic sound. Ice includes a bank of self-oscillating filters for interesting and colorful effects. In the Project “Come Into My Disco” from the MASCHINE factory library, you can hear how it creates deep soundscapes during the break in Scene 6. The Ice panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Ice in the Control area. Parameter Description ROOM Section Color With lower settings, the general sound is a bit more muffled. The higher the Color value, the brighter it sounds. Ice The “ICE” factor: higher values sound more metallic. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Ice on the controller.
Effect Reference Spatial and Reverb Effects 15.4.2 Metaverb Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Reverb it has a much more “synthetic” sound, which is particularly suited for melodic content. The Metaverb panel in the Plug-in Strip. The Metaverb in the Control area. Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies.
Effect Reference Spatial and Reverb Effects Parameter Description Pan This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Metaverb on the controller. 15.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms.
Effect Reference Spatial and Reverb Effects The Reflex panel in the Plug-in Strip. The Reflex in the Control area. Parameter Description ROOM Section Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Smooth With this parameter, you can soften the metallic character of Reflex. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Spatial and Reverb Effects The Reflex reverb on the controller. 15.4.4 Reverb (Legacy) This reverb is best for most common applications. The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural” sound for all sorts of other signals. The Reverb panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Reverb in the Control area. Parameter Description ROOM Section Room This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter. Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. POSITION Section Pan This pans the dry signal.
Effect Reference Spatial and Reverb Effects The Reverb on the controller. 15.4.5 Reverb The Reverb effect provides three different modes which are described in this section. The Room Reverb panel in the Plug-in Strip. 15.4.5.1 Reverb Room The Room mode is suited to drum and percussive sounds, and particularly sounds good when used on snares. Modulate the Room Size, and Pre Delay parameters to create special effects.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 1.0s). Reverb Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 50.0%).
Effect Reference Spatial and Reverb Effects The Reverb Room on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 15.4.5.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 2.2s). Room Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 40.0%).
Effect Reference Spatial and Reverb Effects The Reverb Hall on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 15.4.5.
Effect Reference Spatial and Reverb Effects The Plate Reverb effect in the Plug-in Strip. The Plate Reverb in the Control area. Parameter Description MAIN Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Decay Adjusts the damping of the plate, which directly affects the decay time of the reverb. EQ Section Low Shelf Controls the low-frequency content in the reverberated signal.
Effect Reference Delays Parameter Description Pre Delay Adjusts the time between the original signal and the early reflections. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Reverb Plate on the controller. 15.5 Delays 15.5.1 Beat Delay The Beat Delay is specialized for creating delays that are synced to the tempo.
Effect Reference Delays The Beat Delay panel in the Plug-in Strip. Main Page The Beat Delay in the Control area: Main page. Parameter Description DELAY Section Time The Time parameter defines the delay length in note values. The available values depend on the unit defined by the Unit parameter on the Unit page (see below). They range from half a unit to 16 units. Offset This parameter is used to shift the start of the delay in relation to the tempo.
Effect Reference Delays Parameter Description Crossover Allows for panning the feedback signal rhythmically in the stereo field. Color Defines the basic frequency of the feedback circuit: lower values result in a deeper sound, whereas higher values brighten the sound. Split Controls the difference in frequency between left and right channel. At full left, this control is disabled. OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from -100.
Effect Reference Delays Unit Page The Beat Delay in the Control area: Unit page. Parameter Description UNIT Section Unit 15.5.2 Defines the unit used by the Time and Offset parameters on the Main page. Grain Delay By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is useful for creating ambient textures. Increase Size, Space and Density to quickly transform any sound into an evolving ambient texture.
Effect Reference Delays Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher. Size Defines the length of the grains. Jitter Introduces artifacts into the grains. Reverse Produces a reverse playback of the grain.
Effect Reference Delays The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo 15.5.3 This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo). Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the incoming signal.
Effect Reference Delays The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area. Parameter Description MASTER Section On Enables the effect. Every time this control is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th step. TIME Section Stretch Defines the time-stretch amount. Set to 50.0 % for half speed. Loop Sets a loop length, in 1/16th steps. PITCH Section Pitch Adjusts the pitch of the grains.
Effect Reference Delays Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Grain Stretch on the controller. 15.5.4 Resochord The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord. The results are most effective with non-melodic content (like drums) as the Resochord will print its own harmonic content on to any input material.
Effect Reference Delays The Resochord in the Control area. Parameter Description PITCH Section Mode Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords. In String mode, the 6 combs are centered around one frequency and can be spread for an intense chorus-like effect. Depending on your selection the other parameters in the Pitch area will change.
Effect Reference Distortion Effects Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Resochord on the controller. 15.6 Distortion Effects 15.6.1 Distortion The Distortion effect contains two modes of distortion: Mullholland and Analog. The Distortion panel in the Plug-in Strip.
Effect Reference Distortion Effects The Distortion in the Control area. Mullholland Mode Mullholland mode combines overdrive, feedback and modulation, this produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates. Parameter Description MAIN Section Mode Select a distortion type: Mullholland or Analog. Drive Determines the basic amount of distortion.
Effect Reference Distortion Effects Parameter Description Gate The Gate button is used to cancel out feedback loops introduced by high Feedback settings. Release This parameter determines how fast the distorted sound dies down when the Gate is enabled. Analog Distortion Analog mode adds grit to Drums and Percussion, Lead Synths and Guitars. Element Description MODE Section Mode Select a distortion type: Mullholland or Analog.
Effect Reference Distortion Effects The Distortion on the controller. 15.6.2 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. The Lofi panel in the Plug-in Strip. The Lofi in the Control area.
Effect Reference Distortion Effects 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. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Lofi on the controller.
Effect Reference Distortion Effects The Saturator panel (here in Tube mode) in the Plug-in Strip. Classic Mode The Classic mode is the legacy mode. It combines compression and saturation to increase the overall loudness and add additional harmonics. The Saturator in Classic mode in the Control area. Classic Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.
Effect Reference Distortion Effects Classic Mode – Parameter Description 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. Tape Mode The Tape mode emulates the soft compression and pleasant saturation induced by recording to analogue magnetic tapes.
Effect Reference Distortion Effects Tape Mode – Parameter Description 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. Tube Mode The Tube mode emulates the smooth saturation of overdriven tube amplifiers.
Effect Reference Perform FX 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.
Effect Reference Perform FX ▪ Reso Echo: The Reso Echo is a crazy psychedelic echo which can be tightened up into a punchy resonator. For more information see section ↑15.7.4, Reso Echo. ▪ Ring: Based on a bank of ring modulators, the Ring effect adds a bell-like quality to melodic sound sources. An additional plate reverb lets you pick out individual notes with your finger and have them ring out for several seconds. For more information see section ↑15.7.5, Ring.
Effect Reference Perform FX Filter Perform FX in the Plug-in Strip. Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes. Resonance Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing.
Effect Reference Perform FX Flanger Perform FX in the Plug-in Strip. Flanger Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound. STEREO Controls the stereo spread of the effect. Setup Page Parameter Description COLOR Polarity Flips the phase of the signal in the feedback loop.
Effect Reference Perform FX 15.7.3 Burst Echo A warm, versatile echo with plenty of character, designed for spontaneous splashes of echo. Strong, responsive attacks that taper off into hazy trails are perfect for dub and can also be tweaked for more extreme sound design. Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated. The feedback is reduced when the effect is disengaged.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Replace mode, the dry signal is muted after the first repetition, leaving only the delay tail audible until the effect is released. ▪ In Wet Only mode, the dry signal is muted entirely, which is useful for placing the effect on a send. Feed 15.7.
Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback. Pump Controls the amount of compression applied to the feedback loop. Wet Level Controls the volume of the delayed signal.
Effect Reference Perform FX Setup Page COLOUR Saturation Controls the amount of saturation applied to the feedback path. Resonance Controls the resonance of the filters in the filter bank. More resonance emphasizes the "singing" effect. 15.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick individual notes and keep them ringing into the stratosphere.
Effect Reference Perform FX Ring Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. OSC Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency. At higher Spread values, the oscillator frequencies become further apart.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Wet Only mode, the dry signal is muted entirely, leaving silence except when the effect is activated. This is useful for using Ring as an instrument with a sustained sound (e.g. a pad) as source material. 15.7.
Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using TS Assign. TS Assign Assigns the control to Length or Pitch. STUTTER Gate Applies a volume envelope to the loop, exaggerating the "stutter" effect, especially at short loop lengths.
Effect Reference Perform FX Parameter Description Quantize Quantizes the loop length and start point to the song position and tempo. When Quantize is off, the loop length is continuously variable and measured in milliseconds, and no quantization takes place. Quantization is especially meaningful if direction is set to Reverse or Both, since it's during reverse playback where a poorly timed loop will sound completely off-time. 15.7.
Effect Reference Perform FX Tremolo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Enables and disables the effect. Position Controls the tremolo and vibrato rate and depth, within the ranges defined by the Min and Max parameters on the second page. TREMOLO Trem/Vibr Controls the balance between tremolo (modulation of amplitude) and vibrato (modulation of frequency/pitch). Vibr Mode Sets the vibrato mode.
Effect Reference Perform FX Setup Page Parameter Description DEPTH RANGE Depth Min Controls the amplitude of the modulation when the parameter position is set to 0%. Depth Max Controls the amplitude of the modulation when the parameter position is set to 100%. DEPTH RANGE Rate Min Controls the rate of the modulation when the parameter position is set to 0%. Rate Max Controls the rate of the modulation when the parameter position is set to 100%. 15.7.
Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time). SWIRL Delay Time Controls the delay time range. Longer values produce a delay effect. Shorter values result in a comb filtering effect.
Working with the Arranger Arranger Basics 16 Working with the Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. The MASCHINE Arranger has two different views: Ideas view and Song view which are also reflected on your controller. Each view has a specific purpose in the workflow of creating a song, but essentially they represent the same content.
Working with the Arranger Arranger Basics The Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene. 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your Project.
Working with the Arranger Arranger Basics (see ↑2.4.4, Control Area). To mute a Group click the Group letter, for example A1, and rightclick ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options available to manage them.
Working with the Arranger Arranger Basics (4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene assigned to the Section along with the Scene's Patterns stacked vertically for each Group in the Project. The Patterns seen here are the same as those seen when viewing the same Scene in the Ideas view. 16.1.1 Navigating Song View Song view can be scrolled and zoomed in or out to fit your current needs.
Working with the Arranger Arranger Basics ▪ Double-click the main part (1) to reset the zoom and display all of the Sections in your arrangement. Navigating the Arranger Vertically A classic scroll bar is available right of the Arranger. It allows you to scroll to view hidden Groups in if they do not fit in the Arranger. The classic scroll bar right of the Arranger.
Working with the Arranger Arranger Basics Navigating Song View from the Controller You can also control the position and zoom factor in the Song view from your controller: 1. Press SHIFT + ARRANGER, then select Button 3 (SONG) to enter Song view. 2. Press SHIFT + VARIATION (Navigate) to enter Navigation mode. 3. Turn Knob 1 (Arranger Zoom) to zoom in or out of the Arranger. 4. Turn Knob 2 (Arranger Scroll) to scroll through the Arranger. 16.1.
Working with the Arranger Arranger Basics The Follow function affects both the Pattern Editor and the Arranger simultaneously (see section ↑11.1.3, Following the Playback Position in the Pattern for more information on the Follow function in the Pattern Editor). To follow the playhead position during playback: ► Press the FOLLOW button in the Transport section (at the bottom of your controller). → The FOLLOW button lights up.
Working with the Arranger Arranger Basics one quarter note, one eighth note, one sixteenth note, the whole Scene/Section, and Off. If you choose Off, the Scene/Section change will be performed immediately after you select the next loop. ▪ The Retrigger setting lets you decide where the next loop will start: ◦ If Retrigger is enabled, the next Section (Ideas view) or Section (Song view) that is selected will be forced to play from the start.
Working with the Arranger Arranger Basics 2. To adjust the Perform Grid, click the Performance Grid menu in the Header and select the desired division from the menu: → The next time you select a new Scene/Section or group of Scenes/Sections for looping, the switch will happen on the next division selected here. ► To enable/disable the Retrigger setting, click the Performance Grid menu in the Header and select Retrigger from the menu.
Working with the Arranger Arranger Basics 16.1.3.2 Jumping to Other Scenes using the Controller In Ideas view the Perform Grid and the Retrigger controls the setting for jump between Scenes and in Song view it sets the grid for the jump between Sections. To set the Perform Grid and the Retrigger settings: 1. Press ARRANGER. 2. Press SHIFT + Button 1 or 2 to select Ideas view or Song View. 3. Press and hold FOLLOW (Grid) to enter Grid mode (or pin it by pressing FOLLOW (Grid) + Button 1). 4.
Working with the Arranger Using Ideas View 3. At the bottom left corner of the left display you see the current RETRIGGER value (Off by default). 4. Turn Knob 1 to select On. → The next time you select a new Section or loop range, it will start from the beginning. 16.2 Using Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene.
Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode focuses on Scene selection and manipulation. To enter Scene mode on your controller: ► Press SCENE (Section) to enter Scene mode. → The software switches to Scene mode. This is indicated by the illuminated SCENE (Section) button.
Working with the Arranger Using Ideas View In addition, the Scene mode provides useful Scene management commands similar to those of the Scene Arrange mode. These are described in the following sections. 16.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View ► To create a new Scene, click the “+” button located after all existing Scene names in the top row of the Ideas view. Click the “+” button to create a new Scene.
Working with the Arranger Using Ideas View In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots. Any changes made in Ideas view or Song view are one and the same. Assigning and Removing a Pattern in Ideas View 1. Select a Scene slot. 2. Then click the Pattern slot you want to assign or remove for that Scene.
Working with the Arranger Using Ideas View Patterns and the Pattern Editor are described in chapter ↑11, Working with Patterns. Creating a New Empty Pattern in Ideas View You can also create a new empty Pattern in Ideas view: ► In the Ideas view, double-click the empty Pattern slot located in the column of the desired Group. → A new empty Pattern is created.
Working with the Arranger Using Ideas View Both your pads and the right display give you an overview of the available Patterns. Dim lit pads indicate the available Patterns. If a Pattern already exists in the selected Scene for that Group, the referenced Pattern is highlighted and its pad is fully lit.
Working with the Arranger Using Ideas View 16.2.4 Selecting Scenes You can select the desired Scene in the Ideas view. Selecting a Scene in the Ideas View To select a Scene in the Ideas view, do the following: ► Select the desired Scene by clicking its name at the top of the Ideas View: → The Scene name is now highlighted to indicate that this Scene is selected.
Working with the Arranger Using Ideas View Selecting Scenes and Scene Banks on the Controller Selecting a Scene Bank To select a Scene located in another Scene bank: 1. Press SCENE (Section). 2. Press Button 7 or 8 to select the previous or next Scene bank. If the last Scene bank is selected and not empty, pressing Button 8 will create a new, empty Pattern bank — see section ↑16.2.6, Creating and Deleting Scene Banks for more information.
Working with the Arranger Using Ideas View ► In the top row of the Ideas view, right-click ([Ctrl]-click on macOS) the name of the Scene you want to delete and select Delete from the context menu: → The Scene is deleted with all its Patterns. Scenes to the right shift to fill the gap. Instead of deleting the Scene, which removes it entirely, you can also clear the Scene: This will only remove its content — the Scene will stay in your arrangement, but empty.
Working with the Arranger Using Ideas View → The Scene is deleted with all its Patterns. Scenes to the right shift to fill the gap. If the desired Scene bank is already selected (or if there is only one Scene bank), this alternate method can be simplified as follows: Press ERASE + SCENE (Section) + pad to delete the corresponding Scene. 16.2.6 Creating and Deleting Scene Banks A new Scene bank is automatically created once you fill an entire bank with Scenes.
Working with the Arranger Using Ideas View ► Right-click ([Ctrl]-click on macOS) the name of the Scene you want to clear, and select Clear from the context menu. → The Scene is cleared of all Patterns. 16.2.8 Duplicating Scenes The Ideas view allows you to duplicate a Scene. This feature works in connection with settings made in the Default page of the Preferences.
Working with the Arranger Using Ideas View ▪ The selected Scene is duplicated in accordance with the setting in the Default page of the Preferences. You can also duplicate a Scene by clicking the Scene slot header while holding [Alt] key (or [Ctrl] on PC), and dragging the mouse. After the mouse is released a duplicate copy of the Scene is created. Duplicating a Scene on Your Controller To duplicate a Scene on your controller: 1. Press SCENE (Section) to enter Scene mode. 2.
Working with the Arranger Using Ideas View To reorder Scenes: 1. Click and hold the Scene name in the Ideas view. 2. While holding the mouse button, drag your mouse horizontally to the desired location. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Scene. 3. When the insertion line appears at the desired location, release the mouse button. → The Scene takes its new place.
Working with the Arranger Using Ideas View 16.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique. This allows you to work on a new separate copy of the Scene and its Pattern in isolation. Use Unique in combination with the Duplicate option. For more information on the Duplicate option, read: ↑16.2.8, Duplicating Scenes.
Working with the Arranger Using Ideas View → A unique copy of the Scene and its Patterns are created. 16.2.11 Appending Scenes to Arrangement Once you are satisfied with a Scene you can append it directly to your arrangement in the Song view.
Working with the Arranger Using Ideas View 4. Press the pad corresponding to the Scene you want to append. You can do this more than once, tapping a series of pads will add all of those Scenes into Sections at the end of the Arranger in one quick step. Release the SCENE (Section) button or turn off APPEND when done. 16.2.12 Naming Scenes By default, Scenes are named Scene 1, Scene 2, Scene 3, etc. You can rename Scenes and use custom names of your own.
Working with the Arranger Using Ideas View → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software. In this case, click anywhere else in the MASCHINE plug-in window to confirm the name you have entered. 16.2.13 Changing the Color of a Scene You can change the color of each Scene in the software. To do this: 1.
Working with the Arranger Using Song View 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 Song view, 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 this case the color (even unchanged) will be considered as a custom color and will follow the Scene as you move it. 16.
Working with the Arranger Using Song View 1. To open Song view, click the Arranger View button on the left of the Arranger. ⇨ The Song view appears on the right. 2. To open the Section Manager, click the drop-down menu on the left of the arrangement. → The Section Manager appears on the right. Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank.
Working with the Arranger Using Song View tion slots. The selected Section bank is surrounded by a white border (bank 2 in the picture above). If there are too many Section banks to fit into the Section Manager’s height, use the scroll wheel of your mouse to display the other banks.
Working with the Arranger Using Song View ⇨ The ARRANGER lights up to indicate that Arrange mode is enabled. 1 2 3 4 5 6 7 8 9 10 The Section Arrange mode in the controller displays. In Section Arrange mode, the displays of your controller show the following: ▪ The left display provides an overview of the arrangement for your entire Project: ◦ Similarly to the Arranger in the software, you will find Sections organized in columns and Groups organized in rows.
Working with the Arranger Using Song View ◦ Horizontally, the displayed time interval is variable: Turn Knob 5 and 6 to zoom and scroll in the right display to your liking, respectively. You can also enable FOLLOW and let the right display follow the playhead as it travels through your arrangement, see section ↑16.1.2, Following the Playback Position in Your Project for more information. ◦ At the top of the right display you see the Section names (7) with the timeline (8) underneath.
Working with the Arranger Using Song View → Your controller switches to Section mode. This is indicated by the highlighted SECTION in the upper-left corner of the left display. Apart from a few commands, the main difference between the Section mode and the Section Arrange mode is found in the right display of the controller: In Section mode you see all Section slots of the selected Section bank represented as a square of 4x4 cells: ▪ The highlighted cell indicates the selected Section slot.
Working with the Arranger Using Song View ▪ A new empty Section is created after all existing Sections. You can then assign a Scene using your controller and software, see section: ↑16.3.3, Assigning a Scene to a Section. Creating a New Section on Your Controller To create a new Section on your controller: 1. Press ARRANGER. 2. Press SHIFT + Button to enter Song view. 3. Press SCENE (Section) + any unlit pad to create a new empty Section in the current Section bank.
Working with the Arranger Using Song View 2. Press the Right Arrow button to select Scene. 3. Turn the Encoder to select the Scene you want to add to the Section. → The selected Scene is added to the Section. By repeating this for each new Section, you can quickly add Scenes to the Arranger. 16.3.4 Selecting Sections and Section Banks You can select the desired Section via the Section Manager or directly in the Song view.
Working with the Arranger Using Song View 2. If it is not already selected, select the Section bank containing the desired Section by clicking its pad grid on the right. The selected Section bank is surrounded by a white border, and the left part of the Section Manager displays the Section slots in that bank. 3. Select the desired Section by clicking the slot with its name in the list on the left or by clicking its cell in the selected pad grid on the right.
Working with the Arranger Using Song View ▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty. ▪ Additionally, if the selected Section is outside the current Loop Range: ◦ The Loop Range is set to the selected Section. ◦ If playback is off the playhead immediately jumps to the beginning of the selected Section.
Working with the Arranger Using Song View → The desired Section is selected. Upon your selection, the following happens: ▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty.
Working with the Arranger Using Song View ▪ The Pattern Editor displays the Pattern for the focused Group in this Section. If there is no Pattern for the focused Group in the Section you have just selected, the Pattern Editor is empty. ▪ The Loop Range is set to the selected Section, see section Selecting a Loop Range. ▪ If playback is off the playhead immediately jumps to the beginning of the selected Section.
Working with the Arranger Using Song View → The Section takes its new place. On your controller in Section mode, you can now select this Section via the pad corresponding to its new location. Moving a Section using the Controller To move a Section using your controller: 1. Press ARRANGER. 2. Press SHIFT + Button 2 to enter Song view. 3. Press and hold SCENE (Section) to enter Section mode (you can pin it by pressing Button 1). 4.
Working with the Arranger Using Song View ▪ Auto Length: By default, the length of a Section corresponds to the longest Pattern used in the referenced Scene. Inserting a new Pattern that is longer than the Section automatically extends the Section. Removing the longest Pattern from the Section automatically shrinks the Section. Extending/shrinking the longest Pattern automatically extends/shrinks the Section accordingly. ▪ Manual Length: A Section can be manually adjusted to a set length.
Working with the Arranger Using Song View When the right end marker of a Section is extended beyond the length of a Scene, the referenced Patterns are repeated. When the right end marker of a Section is dragged so it is shorter than the referenced Scene, only the part visible part of the Patterns are audible. To lengthen a Section: ► Click and drag the end marker of the Section to the right. → The Scene will be repeated if the adjustment is longer than the referenced Pattern.
Working with the Arranger Using Song View ▪ The value set in the Arrange Grid is used for length increments. For more information on Arrange Grid, read: ↑16.6, The Arrange Grid. ▪ When [Shift] is pressed while changing the length, the value set in the Step Grid is used. For more information on Step Grid, read: ↑11.1.7, Adjusting the Step Grid and the Nudge Grid. ▪ The minimum length a Section marker can be dragged without modifier is one Arrange Grid increment.
Working with the Arranger Using Song View 16.3.8 Duplicating Sections The Song view allows you to duplicate a Section. This feature works in connection with settings made in the Default page of the Preferences. Together they offer you options to: ▪ duplicate Scenes, ▪ duplicate Scenes and Patterns, ▪ link when duplicating Sections For more information on the Default page of the Preferences, see ↑3.7.4, Preferences – Default Page.
Working with the Arranger Using Song View → The ARRANGER button is illuminated. 1. Hold SHIFT and press Button 2 SONG. 2. Press SCENE (Section) + DUPLICATE. 3. Press the pad to select the Section you want to duplicate. 4. Press the pad where you want to copy the Section. → The selected Section is duplicated in accordance with Scene / Section settings in the Default page of the Preferences. For more information on the Default page, see ↑3.7.4, Preferences – Default Page. 16.3.8.
Working with the Arranger Using Song View → The Section will become independent of any Sections it was linked to and the Patterns can be edited without affecting any the original Sections. Making a Section Unique on the Hardware To make a Section unique on the hardware: 1. Press SHIFT + SCENE (Section) to enter Song view. 2. Select the Section you want to make unique by pressing the pad. 3. Press Button 2 UNIQUE.
Working with the Arranger Using Song View Instead of removing the Section, which removes it entirely, you can also clear the Section: This will only remove its content, the Section will stay in your arrangement, but empty. For more information on clearing Sections, see section ↑16.3.11, Clearing Sections. Removing Sections on the Controller To remove a Section using your controller: 1. Press ARRANGER. 2. Press SHIFT + Button 2 to enter Song view. 3.
Working with the Arranger Using Song View You can also remove Sections in Section Arrange mode: press ARRANGE then Button 1 (SCENE) to enter Section Arrange mode, then follow either of the procedures described above. 16.3.10 Renaming Scenes Sections are displayed in the software using the names of the Scene they reference. Sections do not have separate names from the Scene they represent. On the controller, they are referenced by their position, for example, #4.
Working with the Arranger Using Song View 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software. In this case, click anywhere else in the MASCHINE plug-in window to confirm the name you have entered. 16.3.
Working with the Arranger Using Song View 16.3.12 Creating and Deleting Section Banks A new Section bank is automatically created once you fill an entire bank with Sections. Deleting Section Banks using the Controller To delete a Section bank: 1. Press ARRANGER. 2. Press SHIFT + Button 2 to enter Song view. 3. Press and hold SCENE (Section) to enter SECTION mode. 4. Press Button 7 and 8 to select the desired Section bank. 5. Press SHIFT + Button 6 (DELETE) to delete the selected Section bank.
Working with the Arranger Using Song View ► Right-click ([Ctrl]-click on macOS) the Pattern you want to change, and click Select in the menu. → A new Pattern is selected for this Scene and will appear in each Section where the Scene is used. 16.3.13.3 Clearing a Pattern in Song View In Song view use the right-click context menu to clear the contents of a Pattern. Clearing the contents will remove all events and audio loops from the Pattern.
Working with the Arranger Using Song View 16.3.13.6 Removing a Pattern in Song View In Song view use the right-click context menu to remove a Pattern from a Section. To remove a Pattern from a Section in Song view: ► Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to remove, and click Remove in the menu. → The Pattern is removed from the Section but not deleted. You can add the Pattern back to the Scene by using Select in the right-click menu.
Working with the Arranger Using Song View To enable Auto Length for a Section in the software: 1. Right-click ([Ctrl]+click on macOS) on the Section. 2. Click Auto Length in the menu. → Auto Length is enabled and the selected Section is automatically resized to fit the content of the Patterns within the assigned Scene. Any manual adjustments that were previously made are discarded. To enable Auto Length for a Section using your controller: 1. Press SHIFT + SCENE (Section) to enter Song view. 2.
Working with the Arranger Using Song View before recording, recording multiple takes, etc. The loop range is permanently visible, (even when it is deactivate) and the range of the loop can be altered at any time using the left and right end points. 16.3.15.1 Setting the Loop Range in the Software Set the start, end and position of the loop using the dedicated Loop range in the Timeline. The value set in the Arrange Grid is used for Loop range increments and movement of the loop range itself.
Working with the Arranger Playing with Sections ► Click the Loop button in the header to activate or deactivate the loop. → When the Loop is activated the Sections within the Loop range are repeated. 16.4 Playing with Sections MASCHINE provides you with various tools to precisely control which Section has to be played, and when.
Working with the Arranger Triggering Sections or Scenes via MIDI The playhead shows you the current play position. At any time you can jump to another position in your Project: ► Click anywhere in the timeline to move the playhead to that position in the Project. Depending on the playback state, the following will happen: ▪ If playback is off, the playhead jumps to the closest Perform Grid division. If the Perform Grid is set to Off (i.e.
Working with the Arranger Triggering Sections or Scenes via MIDI Section/Scene Slot MIDI Note Number Program Change Number 1 0 1 2 1 2 3 2 3 … … … 128 127 128 MIDI Note numbers: Host applications use various conventions to name MIDI notes. For example, in MASCHINE, MIDI note number 0 is referred to as C-2 and MIDI note number 60 (middle C) as C3. Please refer to the documentation of your host to know which convention is used.
Working with the Arranger The Arrange Grid → The MIDI Change dialog appears. In the MIDI Change dialog: 1. In Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be triggered. In Section option, click the Enabled checkbox to enable Sections in the Song view to be triggered. 2. In the Source submenu, select the name of your controller. 3.
Working with the Arranger The Arrange Grid ▪ Loop start / length ▪ Loop position ▪ Pattern length ▪ Scene length ▪ Song Clip start / length ▪ Playhead relocation The Arrange Grid setting is located at the bottom left corner of the Arranger area and can be activated/deactivated by toggling the Grid symbol. 1. Click the Grid symbol next to the value to enable the Arrange Grid. 2. Click the current Arrange Grid value to open the drop-down menu. 3. Select a new value for the Arrange Grid.
Working with the Arranger Quick Grid → The selected Arrange Grid value is applied. On your controller: 1. Press the SHIFT + FOLLOW (Grid) button to access the Grid page. 2. Press Button 3 to select ARRANGE. 3. Press Button 5, or the corresponding pad to select an Arrange Grid value. → The selected Arrange Grid value is applied. To Disable the Arrange Grid ► Press pad 16 to select OFF. The Arrange Grid is disabled. 16.
Working with the Arranger Quick Grid 1. Press SHIFT + FOLLOW (Grid) to access the Grid page. 2. Press Button 3 to select ARRANGE. 3. Turn Knob 4 to enable the QUICK Grid. Quick Grid is enabled and globally applied to all Patterns.
Sampling and Sample Mapping Opening the Sample Editor 17 Sampling and Sample Mapping MASCHINE allows you to record internal or external audio signals without having to stop the sequencer. This is a useful feature if you want to record your own Samples, or rearrange loops that you have created yourself using MASCHINE. You can apply various types of destructive processing to the recorded audio or to any Sample you want to use in a Sound.
Sampling and Sample Mapping Recording Audio 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 audio: ↑17.2, Recording Audio. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑17.3, Editing a Sample.
Sampling and Sample Mapping Recording Audio The Record page in the software. Opening the RECORD Page on the Controller ► In Sampling mode, press Button 1 to access the RECORD page.
Sampling and Sample Mapping Recording Audio The RECORD page on the controller. 17.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the INPUT section and the RECORDING section allow you to select which source should be recorded and how the recording should be made. Adjusting the source and mode of the recording in the software.
Sampling and Sample Mapping Recording Audio ▪ If SOURCE is set to Internal, you can select the output of any available Group or the Master. You can easily record the output of a particular Sound by setting SOURCE to Internal, soloing this Sound and selecting its parent Group in the INPUT selector! 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.
Sampling and Sample Mapping Recording Audio ◦ When Sync is selected recording starts in sync with the sequencer after you click Start. Recording will begin at the start of the next bar. The LENGTH control on the right allows you to choose a length for the recording: either 1, 2, 4, 8, or 16 bars, or choose Free if you do not want to set a duration limit to the recording. At any time you can click Stop to end recording, and the recording will stop at the next bar.
Sampling and Sample Mapping Recording Audio most recent recording is playing. If you then switch back to the previous Pattern, you’ll hear only the previous recording (the newest will automatically be disabled in the previous Pattern). Monitoring the Input Signal Visually controlling the input signal. The level meters above the RECORDING section show you at any time the level of the selected audio source. For example, this can come in handy to adjust the appropriate threshold in Detect mode.
Sampling and Sample Mapping Recording Audio ► 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 ↑17.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Detect mode: ◦ The recording will start as soon as the input signal exceeds the THRESHOLD value.
Sampling and Sample Mapping Recording Audio In any case the recorded audio will be stored in the Sound that was under focus as you started the recording. When Recording is Complete When the recording is done, the following things happen: ▪ Each Take is named and stored as a file on your hard disk (see section ↑17.2.7, Location and Name of Your Recorded Samples). ▪ Its waveform appears in the waveform display and its name appears in the information bar above.
Sampling and Sample Mapping Recording Audio 17.2.4 ► Arming, Starting, and Stopping the Recording on Your Controller Press Button 5 (START) to arm the recording. 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 5). In any case the recorded audio will be stored in the Sound that was under focus when you started the recording.
Sampling and Sample Mapping Recording Audio ▪ Cancel: If a recording is standing by to start (awaiting the sync point), you can simply press the footswitch once again to cancel the recording. No new recordings will be made, nor new Patterns. ▪ Abort: If a recording has started, “double-click” the footswitch to abort the current recording. Any audio recorded will be discarded, no loops will be loaded, and no new Pattern created.
Sampling and Sample Mapping Recording Audio ▪ 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., by pressing the pad or by clicking the little play icon in the information bar (4)), a playhead indicator (white vertical line) shows you the current play position within the waveform.
Sampling and Sample Mapping Recording Audio All the takes you have made since you opened the current Project are stored in the Audio Pool and displayed as mini waveforms under the waveform display. The following actions are available: ▪ Click any take to display the recording, you can then further edit this recording via the other pages of the Sample Editor. When selected, a recording is also automatically mapped to a new Zone covering the entire key and velocity ranges in the Zone page.
Sampling and Sample Mapping Recording Audio The name and length of the displayed Sample are indicated above the waveform. When the Sample is played back (e.g., by pressing the fully lit pad), a playhead indicator (vertical line) shows you the current play position within the waveform. ► Turn Knob 5 to zoom in on the waveform of the Sample and Knob 6 to scroll through it.
Sampling and Sample Mapping Recording Audio 17.2.7 Location and Name of Your Recorded Samples By default, recorded Samples (takes) are saved in the Recordings subfolder of your Standard User Directory, as defined on the User pane of the Library page in the Preferences panel (see ↑3.7.4, Preferences – Default Page). If you activate the Prefer Project Folder option on the General page of the Preferences panel (see ↑3.7.
Sampling and Sample Mapping Editing a Sample ▪ If you have just recorded a Sample, it will directly appear here. If you have recorded more than one Sample, the Sampled selected in the Recording History (by default the last recorded Sample) will appear here, see section ↑17.2.6, Checking Your Recordings for more information on the Recording History. ▪ If the Sample in that Sound is already split into Slices, each Slice has its own Zone and the Slice of the focused Zone will appear here. See section ↑17.
Sampling and Sample Mapping Editing a Sample (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. ▪ Use the scroll wheel of your mouse to zoom in/out.
Sampling and Sample Mapping Editing a Sample Command Description Deselect Cancels the current selection range. Select All Selects the entire Sample. Select Play Range Selects the play range, i.e. the region between the S and E markers. This is equivalent to double-clicking anywhere in the waveform. Select Loop Selects the loop range. Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file.
Sampling and Sample Mapping Editing a Sample Adjusts the range that will be played when you trigger a note. Adjust the play start and end points in the Sample via the Start and End parameters. You can also do it by dragging the white markers labeled S and E on the waveform display (1) using the mouse as described above. (6) SELECTION RANGE section Adjusts the range to which audio processing functions will be applied.
Sampling and Sample Mapping Editing a Sample ▪ The Sample can be played back 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. The parameters available at the bottom of the left display are spread over two pages. ► Use the Page buttons on the left of the displays to select the desired page.
Sampling and Sample Mapping Editing a Sample Page 2 – SELECTION RANGE Parameters The parameters in the SELECTION RANGE section allow you to adjust the range to which audio processing functions will be applied. 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.
Sampling and Sample Mapping Editing a Sample The playback settings of the Sample (e.g., tune, amplitude envelope, etc.) can be adjusted on the Zone page. See section ↑17.5.4, Selecting and Editing Zones in the Map View for more information. The Audio Toolbar. The Audio Toolbar provides following audio processing functions: Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM.
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 MODE Selects between Beat and Free mode: In Beat mode, the new tempo is defined relative to the time signature (the beats and bars) of the original audio. This can be useful if you sampled a loop with a clearly defined rhythm (e.g., a drum loop). In Free mode, the new tempo is defined independently from the time signature of the source. This is more suited for non-rhythmic Samples.
Sampling and Sample Mapping Editing a Sample Parameter Description LENGTH (Stretch Length, Beat mode with Auto Detection enabled only) 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 Editing a Sample 2. Press Button 8 to perform the selected audio function → The audio function will be performed on the selected region in your Sample, as defined by the START and END parameters of the SELECTION RANGE section on page 2 (see ↑17.3.1, Using the Edit Page). These audio processing functions are destructive, i.e. they modify the audio material in the Sample.
Sampling and Sample Mapping Editing a Sample Parameter Description COPY This copies the selected region of the Sample to the clipboard for later use. PASTE This pastes the cut/copied region of the Sample, replacing the region of the Sample currently selected. 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.
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 (Formant Correction) audio as much as possible. This is especially useful for melodic instruments.
Sampling and Sample Mapping Slicing a Sample Parameter Description NEW BPM Defines the target tempo of the time-shifted audio (in BPM). (Beat mode only) 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 (Stretch Length, (see above) will be automatically mirrored by this LENGTH value.
Sampling and Sample Mapping Slicing a Sample 1. Open the Slice page (SLICE page on the controller): ↑17.4.1, Opening the Slice Page. 2. Choose a method for slicing along with a few settings depending on the chosen method: ↑17.4.2, Adjusting the Slicing Settings. 3. If you wish, manually adjust the proposed Slices: ↑17.4.4, Manually Adjusting Your Slices. 4. Apply the slicing to your Sample and export the Slices — whether in place or to another Sound/Group: ↑17.4.5, Applying the Slicing.
Sampling and Sample Mapping Slicing a Sample The Slice page in the software. 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 1 on the controller.
Sampling and Sample Mapping Slicing a Sample 17.4.2 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 ↑13.2.
Sampling and Sample Mapping Slicing a Sample Parameter Description AUTO-SNAP (Manual mode only) The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads. It can be turned off so that slice points are instead placed exactly where you trigger them.
Sampling and Sample Mapping Slicing a Sample Parameter Description 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. ENGINE Section (Detect mode only) ZERO-X (Zero When MODE is set to Detect, activate ZERO-X to force the detected Crossing, Detect mode Slices to be created on the closest locations where the audio signal only) crosses the zero value.
Sampling and Sample Mapping Slicing a Sample For more information on the Cue channel, please refer to section ↑13.2.6, Using the Cue Bus. If there are more than 16 Slices, you can select which set of 16 Slices should be triggered by your pads: ► If there are more than 16 Slices, press SHIFT + Button 7 or 8 to switch your pads to the previous/next 16 Slices, respectively.
Sampling and Sample Mapping Slicing a Sample Parameter Description AUTO-SNAP (Manual mode only) The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads. It can be turned off so that slice points are instead placed exactly where you trigger them.
Sampling and Sample Mapping Slicing a Sample The ENGINE section. This ENGINE section contains a single parameter: ZERO-X. Parameter Description ENGINE Section (Detect mode only) ZERO-X (Zero When MODE is set to DETECT, activate ZERO-X to force the detected Crossing, Detect mode Slices to be created on the closest locations where the audio signal only) crosses the zero value. This can be helpful to avoid clicks when playing back Slices in another sequence. 17.4.
Sampling and Sample Mapping Slicing a Sample 2. Press Button 3 to select SLICE to open the SLICE tab. 3. Turn Knob 1 to select Manual mode. 4. Press Pad 1 to add the first Slice to the sample. 5. Press Pad 2 to add the second slice point. 6. Continue to press subsequent pads as they flash to add more slices. → When playback of the sample stops you may fine-tune the start and end points of your slices by entering EDIT mode. Press SHIFT + MUTE if you want to stop playback of a long sample.
Sampling and Sample Mapping Slicing a Sample 4 3 1 2 5 Manually adjusting your Slices. (1) Waveform display Shows the selected Sample with a couple of spread vertical lines in the waveform: this is where the Slices are going to be applied (i.e. cut). ▪ Hover a Slice with the mouse to select it (it is highlighted). Little “S” and “E” markers appear at the bottom of the Slice borders to indicate the start and end point of that Slice, respectively. ▪ Use the scroll wheel of your mouse to zoom in/out.
Sampling and Sample Mapping Slicing a Sample Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Slice under as a distinct file on your computer. By default, you can adjust Slices with your mouse as follows: ▪ Click inside a Slice (i.e. anywhere between its borders) to play it back on the Cue bus (see section ↑13.2.
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 ↑13.2.6, 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 Manually Adjusting Slices Using Your Controller Your controller provides a dedicated Slice Edit mode that allows you to select and fine-tune each particular Slice. After creating slices in Live Slice mode (refer to ↑17.4.3, Live Slicing) use the following steps to edit them: 1. In SLICE mode: 2. Press the right page button to access Page 2 Edit. 3. Turn Knob 1 to select a slice to edit. 4. Turn Knob 3 to trim the start of the selected slice. 5.
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description Slicer Page Mode Select the Slicer edit mode. AUTO-SNAP The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads. It can be turned off so that slice points are instead placed exactly where you trigger them.
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description pattern. When Mono is selected and the slices are applied to a Group, the sampler polyphony is automatically set to 1 so only one voice will play at a time. The Choke Group is also automatically set to 1 so each new pad that is hit will always take priority over the previous one by cancelling it out.
Sampling and Sample Mapping Slicing a Sample 17.4.5 Applying the Slicing Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices. This is done via the three elements at the bottom right of the Slice page: 3 1 2 You can apply the slicing in various ways. (1) Apply button Exports the Slices to the same Sound.
Sampling and Sample Mapping Slicing a Sample ▪ If you drag to a Sound (in the Sound List at the left of the Sample Editor): ◦ The Slices will be mapped to individual notes of this Sound, starting with the bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bottom C as well (see section Adjusting the Base Key for more information on the base key). Any previous content in the Sound will be replaced. ◦ The Sample Editor will be replaced by the Pattern Editor in Keyboard view.
Sampling and Sample Mapping Slicing a Sample ▪ Replace Pattern: Upon Slice export a sequence of notes will be created in the current Pattern so that the Pattern reproduces the original, unsliced Sample. If the sequence is shorter than the current Pattern it will be repeated to fill the Pattern; if the sequence is longer than the Pattern the Pattern will be extended according to the Pattern Grid and the content of other Sounds will be repeated.
Sampling and Sample Mapping Slicing a Sample Dragging an individual Slice to another Sound. Applying a Sliced Sample to a Sound If you drag a Slice to a Group in the Group List (at the left of the Arranger), it will be exported to the first Sound slot of that Group. Any Sound loaded in that Sound slot will be replaced. When applying a sliced sample to a Sound in an otherwise empty Group, the root note of the Sounds in that Group is set to C-2, matching the key zones of the slices.
Sampling and Sample Mapping Slicing a Sample Exporting the Slices on the Controller Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices. This is done via the two commands at the top of the right display: APPLY… (Button 8).
Sampling and Sample Mapping Slicing a Sample 3. Press Button 8 (OK) to export the Slices. → The Slices will be mapped to individual notes of the selected Sound, starting with the bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bottom C as well (see section Adjusting the Base Key for more information on the base key). Any previous content in the Sound will be replaced. Your controller will leave Sample mode and return to Control mode.
Sampling and Sample Mapping Mapping Samples to Zones 4. Press Button 8 (APPLY) to export the selected Slice. APPLY: Exporting the Slices to the Same Sound ► On the SLICE page, press Button 8 (APPLY) to export all Slices to the focused Sound itself. → The Sample currently loaded in that Sound will be replaced by its own Slices, each of them being mapped to a particular note. This is equivalent to pressing Button 7 (APPLY TO) and selecting the Sound in which you already are preparing the Slices. 17.
Sampling and Sample Mapping Mapping Samples to Zones The Zone page (here for an empty Sound). Opening the ZONE Page on Your Controller ► In Sampling mode, press Button 4 to access the ZONE page. The ZONE page on the controller. 17.5.
Sampling and Sample Mapping Mapping Samples to Zones 1 2 3 4 5 6 The Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4). (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.6, Using the Cue Bus for more information).
Sampling and Sample Mapping Mapping Samples to Zones ton (2) to switch between the Map view and the Sample view (the Sample view is visible when the Sample View button is enabled). The Map and Sample views are explained in detail in section ↑17.5.4, Selecting and Editing Zones in the Map View and ↑17.5.5, Editing Zones in the Sample View, respectively. (6) Zone settings: Displays the parameters for the focused Zone. See section ↑17.5.
Sampling and Sample Mapping Mapping Samples to Zones ► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system onto the empty area in the Zone List. or 1. Click the “+” at the end of the Zone List. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → A new Zone is created at the end of the list containing the dragged or selected Sample.
Sampling and Sample Mapping Mapping Samples to Zones 1. Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load Sample… in the menu that opens. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → The dragged or selected Sample replaced the previous Sample in the target Zone. Selecting a Zone in the List ► Click any Zone entry in the Zone List to put it under focus.
Sampling and Sample Mapping Mapping Samples to Zones ▪ The other selected Zones are highlighted in white. Their settings are not displayed anywhere, however they will be affected by your actions in the Zone List and in the Map view (see section ↑17.5.4, Selecting and Editing Zones in the Map View for more on this). Mouse/Keyboard Action Command Multiple Selection Hold [Ctrl] ([Cmd] on macOS) and click several entries in the list Selects all clicked Zones. Click a selected Zone to deselect it (i.e.
Sampling and Sample Mapping Mapping Samples to Zones 3. In that menu selects Delete to remove the focused Zone only, or Delete Selected to remove all selected Zones. Moving Zones in the List You can move your Zones across the Zone List via drag and drop: 1. Select the Zone(s) you want to move. 2. Click and hold the mouse button, and drag your mouse vertically. As the mouse pointer moves, an insertion line appears at various places between the existing entries. 3.
Sampling and Sample Mapping Mapping Samples to Zones Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone. The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller.
Sampling and Sample Mapping Mapping Samples to Zones 1 4 2 3 The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound. ▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis represents velocities from 0 to 127. ▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle’s width) and a velocity range (the rectangle’s height).
Sampling and Sample Mapping Mapping Samples to Zones You can also add a Sample by dragging it directly onto the Sample Map. See section ↑17.5.7, Adding Samples to the Sample Map for more information. (2) Virtual keyboard Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of the selected Zone is indicated by the colored key. You can drag this key with the mouse to modify the root key.
Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Hold [Ctrl] ([Cmd] on macOS) and click several Zones Selects all clicked Zones. Click a selected Zone to deselect it (i.e. remove it from the selection). Hold [Shift] and click two Zones Selects both Zones and all Zones in-between. Click and drag a selection frame in the Sample Map Selects all Zones within or overlapping the frame. Press [Ctrl]+[A] ([Cmd]+[A] on macOS) Selects/deselects all Zones.
Sampling and Sample Mapping Mapping Samples to Zones For more information on the Edit and Slice pages, please refer to section ↑17.3, Editing a Sample and ↑17.4, Slicing a Sample, respectively. Sample Map Menu The Sample Map menu contains additional editing facilities. ► Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu. The commands in the Sample Map menu will affect all selected Zones.
Sampling and Sample Mapping Mapping Samples to Zones 1 2 5 4 3 The Sample view of the Zone page. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides following tools: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3). ▪ Play range markers (4) and loop markers (5): See below. ▪ Playhead indicator: When the Sample is played back (e.g.
Sampling and Sample Mapping Mapping Samples to Zones Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the focused Zone under another name and/or to another location on your computer. (2) Timeline Shows the time scale in seconds.
Sampling and Sample Mapping Mapping Samples to Zones 17.5.6 Adjusting the Zone Settings At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings in the software. The various sections always display the values for the focused Zone. If the MASCHINE window is not wide enough to display all Zone settings at once, a horizontal bar appears underneath to scroll to the desired section of parameters.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description ACTIVE Enable this to define a loop in the Sample of the focused Zone. When the play position reaches the loop, the playback is looped as long as the note is held. This can be useful to loop either a whole Sample or part of it, e.g., to simulate a longer tone. Note: this technique requires that you set the Sampler’s Type selector to AHD or ADSR on the Pitch / Envelope page (see ↑7.2.2, Page 2: Pitch / Envelope).
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN Sets the panorama position of the focused Zone. ROOT KEY Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. The root key is also indicated by the colored key on the virtual keyboard; to change it, you can drag it to another note on the keyboard.
Sampling and Sample Mapping Mapping Samples to Zones Editing Your Zones on Your Controller At the bottom of the left display, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings on the controller. The various parameters always display the values for the focused Zone. The parameters available in the Zone settings are spread over five pages. ► Use the Page buttons on the left of the displays to select the desired page.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description START (Knob 1) Adjusts the playback’s start point in the Sample of the focused Zone. END (Knob 2) Adjusts the playback’s end point in the Sample of the focused Zone. ► Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. In the waveform on the right display, the regions outside the play range are grayed out.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description END (Knob 3) Adjusts the end point of the loop. XFADE (Knob 4) Allows you to blend a little of the material near the loop start and end points in order to get a smoother, less abrupt loop. This is particularly helpful if the loop is inducing any clicks. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN (Knob 3) Sets the panorama position of the focused Zone. ROOT KEY (Knob 4) Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. Page 4 – ENVELOPE Parameters This amplitude envelope can be used to get rid of clicks after slicing; you can either apply it to the Zone of the whole Sample or to individual Zones for selected Slices.
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller, page 5 of 5: MAP parameters. Parameter Description KEY LO (Lowest Key, Knob 1) Sets the lowest note (key) of the focused Zone. KEY HI (Highest Key, Knob 2) Sets the highest note (key) of the focused Zone. VEL LO (Lowest Velocity, Knob 3) Defines the lowest velocity of the focused Zone. VEL HI (Highest Velocity, Knob 4) Defines the highest velocity of the focused Zone. 17.5.
Sampling and Sample Mapping Mapping Samples to Zones ▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the Sample Map the Zone will cover the root key only; dragging your mouse up in the upper half of the Sample Map will extend the Zone’s key range up to one octave above the root key; with your mouse at the top of the Sample Map, the Zone will cover the entire keyboard. ▪ As you release the mouse button, the Zone is created.
Sampling and Sample Mapping Mapping Samples to Zones 3. In the Browser, select the Sample you want to add to the map of the current Sound (see ↑4.2, Searching and Loading Files from the Library for more information on using the Browser on your controller). 4. Press Button 8 (LOAD) to load the Sample. → A new Zone is created that contains the added Sample. Your controller automatically switches back to Sampling mode and the new Zone is selected and appears on the right display, ready to be tweaked.
Appendix: Tips for Playing Live Preparations 18 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. 18.1 Preparations 18.1.
Appendix: Tips for Playing Live Preparations 18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 18.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an overload of your audio interface, this is a useful safety measure. However, you might experience a somewhat squashed and dull sound if you overuse the Limiter by feeding a lot of loud signals to it. Try it out and see what works best for you! See ↑15.1.
Appendix: Tips for Playing Live Basic Techniques 18.2.2 Use Scene Mode and Tweak the Loop Range Scene mode is useful to trigger different parts of an arrangement by switching Scenes, while changing the Loop Range adds another layer of improvisation. By using a short value for the Perform Grid, you can quickly combine Scenes and create new variations. 18.2.
Appendix: Tips for Playing Live Special Tricks 18.3 Special Tricks 18.3.1 Changing Pattern Length for Variation Try a short Pattern Grid resolution like a quarter or eighth note and change the Pattern Length (see section ↑11.1.6, Adjusting the Arrange Grid and the Pattern Length) to create variations of a Pattern. If you select an even smaller value like 1/64th you can create stuttering breaks and rolls. 18.3.
Troubleshooting Knowledge Base 19 Troubleshooting If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help. Before getting help please make sure you have downloaded the latest MASCHINE software from Native Access. 19.1 Knowledge Base The Online Knowledge Base gathers useful information about your Native Instruments product and can be of great help to solve possible issues you may encounter.
Troubleshooting Registration Support ▪ The brand and specifications of your computer When installing new software or software updates, a Readme file is included that contains late breaking news and new information that was not yet included in the documentation. Please open and read this Readme file before contacting Technical Support. 19.3 Registration Support If problems occur during the product activation procedure, please contact our Registration Support team: www.native-instruments.com/regsuppfrm.
Glossary 20 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. It contains two views: Ideas view and Song View. Song View The Song view allows you to combine Sections (references to Scenes), and arrange them into a song on the Timeline.
Glossary their audio. You then only have to set up the desired Sound(s) and Group(s) of your Project to send some of their audio to this bussing point. This basically is the way to set up send effects in MASCHINE! Channel Properties Channel properties are sets of parameters available at each Project level (i.e. for each Sound, each Group, and for the Master) that are independent of the Plug-ins loaded in that Sound/ Group/Master.
Glossary Event Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor, events are visually represented by rectangles in the Step Grid. Depending on the current view in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the select Sound slots only (Keyboard view). Groove Properties The Groove properties control the rhythmic relationship between events for the selected Group/ Sound or the Master level.
Glossary Header The Header is the topmost row of controls in the MASCHINE software window. It contains global settings, such as the Master Volume slider, the Transport controls, controls for global swing, tempo, time signature, etc. Keyboard View Keyboard view is the view of the Pattern Editor in which only events of the selected Sound are visible and editable. The Keyboard view provides a vertical on-screen keyboard that indicates the pitch of each event (one row per semi-tone).
Glossary Mute and Solo Muting allows you to bypass a Sound or a Group, whereas Soloing is pretty much the opposite: It mutes all other Sounds or Groups so that only the soloed Sound or Group is played. The combination of muting and soloing is a useful means both to play live and to test different sequences together.
Glossary Plug-in A Plug-in is an instrument or effect unit, either Internal or External (by Native Instruments or a third-party manufacturer), that can be loaded into a Plug-in slot to produce or alter sound. When a Plug-in is loaded into a Plug-in slot, the Plug-in appears in the Plug-in List in the left part of the Control area. Prehear The Prehear feature allows you to listen to Samples directly from the Browser without loading them into Sound slots first.
Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Song view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Song view and are used to arrange the Scenes into a larger musical structure.
Glossary Step Steps are elementary time blocks. They are notably used to apply quantization or to compose Patterns from your controller in Step mode. All steps together make up the Step Grid. In the software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size, e.g., to apply different quantization to different events or to divide the Step Grid into finer blocks to edit your Pattern more precisely.
Index Index Numerics A 16 Velocities Ableton Link in Pad mode [278] 4-D encoder [53] adjusting the volume, swing, tempo and tune [86] connecting to a network [159] joining a Link Session [159] Amplitude Envelope (Sampler) [357] ARRANGE button [483] [830] Arrange Grid [493] Arranger definition [76] [943] switching views [70] [801] ARRANGER button [52] Arranger View button [70] [801] ASIO driver [128] Assigning Macro Controls from parameters [638] MIDI CC Messages [639] Pages Pane [639] using the con
Index Audio driver (selecting) [127] Autoload [193] definition [943] Audio Engine button [67] Audio input [591] [695] Audio interface [938] input and output routing [126] selecting inputs and outputs [126] settings [126] Audio Plug-in [380] editor [385] Fade [381] Formant [383] Gate mode [380] [388] Length [383] loading [380] Loop mode [380] [386] Mode [381] Parameters [381] Pitchbend [382] Re-pitch [382] Stretch [383] Tempo [383] Tune [382] Audio Type exporting audio [268] B Base key [280] Beat Delay
Index C Clear a Pattern Channel Groove properties [293] Song view [851] Color Input properties (Audio page) [591] [695] Group [251] Macro properties [636] Pattern [570] Output properties (Audio page) [596] Scene [827] Output properties (Aux page) [601] Sound [237] CHANNEL button [51] Channel icon [73] Channel properties [589] Color a Pattern Song view [851] Compressor [713] definition [944] Content selector [69] Groove [293] Control area [66] Input [591] [695] Macro [636] Output [596] [
Index Performance section [54] events/notes (software) [535] rear panel [63] selecting Pad mode [277] Transport section [56] Controller mode [38] Controller modes temporary vs.
Index D Making Sections Unique [845] Delay effects [762] Dynamics effects [713] Delete events/notes (controller) [533] events/notes (software) [532] Group [259] Digital distortion [774] Display area [67] Display brightness [150] Distortion [771] Analog [773] avoiding [938] Mullholland [772] Driver selecting an audio driver [127] Drum program files importing [271] Duplicate Group [255] Pattern (software) [571] Sound [241] Duplicate a Pattern Song view [852] DUPLICATE button [60] Duplicating MASCH
Index E Flanger [740] Edit FM [742] events/notes (controller) [529] Freq Shifter [743] EDIT page (controller) [880] Gate [717] Edit page (software) [876] Grain Delay [765] Edit section [53] Grain Stretch [767] Effect categories Ice [747] delays [762] insert effect [945] distortions [771] Limiter [723] dynamics [713] loading [681] filtering [730] Lofi [774] modulation [738] manipulating [690] spatial and reverbs [747] Maximizer [727] Effects [681] [712] Metaverb [749] applying [6
Index EQ (Filter mode) [360] transposing (controller) [532] Equalizer [730] transposing (software) [527] ERASE button [57] EVENTS button [60] Event Events vs.
Index F G Favorites [199] Gate [717] Add [199] Gate mode [388] Remove [199] Grain Delay [765] Show [199] Grain Stretch [767] FILE button [52] [161] Groove [293] File Management Groove properties [293] using the controller [161] File type selecting in Browser [180] definition [945] Group applying effects to [681] File Type selector [69] [166] color [251] FILES pane [209] copying and pasting [255] Files tab [68] creating [248] Filter [733] definition [77] [945] Filter (Sampler) [360
Index naming [251] H Output properties (Audio page) [596] Header [65] Output properties (Aux page) [601] Audio Engine button [67] pasting [255] Browser button [66] saving [253] CPU meter [67] saving with Samples [261] definition [946] set up as send effect [702] Display area [67] soloing [288] MASCHINE menu [66] triggering Sounds via MIDI notes [615] Master Volume slider [67] Group buttons [56] NI logo [67] Group index [289] Transport controls [66] Group List [225] Help [941] Group
Index I K Ice [747] Key [280] Ideas view KEYBOARD button [61] [279] definition [77] [945] Keyboard mode Groups [71] [802] activating [279] Pattern area [71] [802] Scale [279] Scenes [71] [802] using [279] Import MIDI to Pattern [580] IMPORT button [218] Importing your files into the Library [217] Input properties Keyboard mode (controller) [279] quick erasing events [533] selecting notes [522] [526] Keyboard view [74] definition [946] Audio page [591] [695] Input Quantization [508] Inser
Index L deleting [325] Latency [128] [937] morphing between snapshots [324] LFO [733] [740] [745] recalling in Lock view [324] Library [163] triggering via MIDI [326] importing your own files [217] Library pane [165] updating in Lock view [323] Lock view Library tab [68] entering [323] Limiter [723] recalling snapshot in Lock view [324] using [938] updating snapshot [323] LINE IN 1 and 2 sockets [64] Locking a mode (controller) [83] LINE OUT L and R sockets [63] Locking controller mode
Index M Metronome [505] MACRO button [53] signature [123] [125] Macro Control volume [123] definition [946] Macro Controls [53] [636] Assigning using the controller [644] Unassigning using the controller [645] MIC IN GAIN knob [63] MIC IN socket [64] MIDI [25] automation [623] Macro Controls (controller) [638] connecting external equipment [156] Making Sections Unique [845] controlling parameters via [623] MASCHINE Library [163] disabling MIDI Lock Change [326] MASCHINE menu [66] disabling
Index MOD button [55] [328] Sections (software) [839] Mode buttons [59] Sound [244] Mode locking [38] Move events/notes (controller) [512] [531] [532] Mode pinning [38] Multi-effect [709] [939] Modulation [546] Mute [938] applying using the Smart Strip [328] definition [947] definition [946] Plug-in slot [344] drawing with mouse [552] Sound or Group [288] modulatable parameters [547] MUTE (controller) [291] recording in Control mode (controller) [549] MUTE button [59] recording in Step
Index N moving (controller) [512] [531] [532] Name moving (software) [526] Group [251] nudging (controller) [512] [531] [532] Pattern [568] nudging (software) [528] Scene [826] paste (controller) [537] Sound slot [237] paste (software) [535] Native Instruments Plug-ins [367] quantizing [538] Native Kontrol Standard [110] resizing (controller) [512] [531] Navigate [105] resizing (software) [526] Pattern Editor [105] selecting (controller) [519] [522] [525] [526] Song view [105] transpos
Index O P Octaves Pad Input Mode buttons [61] transposing events/notes by [532] Output properties Audio page [596] [605] Aux page [601] Overdub mode (controller) [501] Overview hardware controller [48] structure of a Project [43] Pad input modes [61] PAD MODE button [61] Pad mode options 16 Velocities [278] Fixed Velocity [278] Pad modes definition [947] Pad modes (controller) [277] Pad section [58] Pad sensitivity [150] Pads [61] Choke groups [282] Link groups [284] recording [501] Page buttons
Index controlling parameters via host automation [623] controlling parameters via MIDI [623] Pattern [479] adding variation [541] adjusting length (controller) [495] inserting (controller) [564] load with Group [197] moving [574] moving events/notes (controller) [531] [532] moving events/notes (software) [526] adjusting length (software) [494] moving events/notes in Step mode (controller) [512] color [570] nudging events/notes (controller) [512] [531] copying and pasting (controller) [573] creating
Index selecting events/notes (controller) [519] [525] step sequencer (controller) [508] transposing events/notes (controller) [532] transposing events/notes (software) [527] Pattern Arrange mode (controller) [483] Pattern bank creating (software) [566] deleting (software) [567] selecting (controller) [561] [562] PATTERN button [60] Pattern Editor [66] [480] definition [947] Pattern Length [494] Pattern Manager [558] Pattern mode [559] Pattern Variation accessing mode [542] applying settings to selected
Index Pitch Bend applying using the Smart Strip [328] External [367] Native Instruments [367] PITCH button [55] [328] Power Supply socket [64] Pitch mode Power switch [64] of the Smart Strip [328] Preferences [121] Pitch scale [279] :Routings [126] Plate Reverb [760] Audio page [126] PLAY button [57] Colors page [154] Playing tools Default page [133] Smart Strip [327] Plug-in [111] General page [121] Hardware page [150] adjusting parameters [344] Library page [137] bypassing [344] MID
Index overview and structure [43] R saving with Samples [262] Randomizing Pattern Variation [542] Q Quantization definition [948] quantizing after recording [538] quantizing while recording (controller) [508] Quick Browse [221] Quick Edit buttons [54] Quick Reference [38] Rear panel [63] REC button [57] Record Count-in [506] Input Quantization [508] Overdub mode [501] Record Prepare mode (controller) [504] Replace mode [502] RECORD page (controller) [864] Record page (software) [863] Record Prepare
Index Resize events/notes (controller) [512] [531] S Sample events/notes (software) [526] definition [948] Pattern (controller) [495] exporting with Group [261] Pattern (software) [494] exporting with Project [262] Resochord [769] importing into Library [217] RESTART button [57] missing [219] Result list pre-listening [195] [196] in FILES pane [211] [214] in Library pane [167] [188] Retrigger Scenes [808] Sample Editor [862] definition [948] Sample rate Retrigger Sections [808] exporting
Index Save creating (controller) [813] Group [253] creating (software) [813] Group with Samples [261] definition [78] [949] Plug-in preset [348] deleting (controller) [819] Project with Samples [262] deleting (software) [818] Sound [239] duplicating (controller) [821] [822] Save button [161] jumping to another [807] Saving files naming [826] using the controller [161] Scale in Keyboard mode [279] Scales reordering (software) [822] Retrigger [808] selecting (controller) [818] selecting (s
Index Section [828] adjusting the length (hardware) [843] adjusting the length (software) [840] [841] assigning (controller) [834] assigning (software) [834] clearing (software) [849] Sections moving (software) [839] Select events/notes (controller) [519] [525] Select a Pattern Song view [850] creating (controller) [834] SELECT button [60] creating (software) [833] Selecting definition [78] [949] duplicating (controller) [844] [845] duplicating (software) [844] jumping to another [807] moving (cont
Index Notes mode [329] Sound Perform mode [328] applying effects to [681] Pitch mode [328] Color [237] using [327] copying and pasting [241] Snapshots [322] definition [79] [949] Solo [938] duplicating [241] definition [947] Groove properties [293] Sound or Group [288] Input properties (Audio page) [591] [695] SOLO (controller) [291] Input properties (MIDI page) [615] SOLO button [60] introduction [225] Song [828] Macro properties [636] Song view [828] moving [244] Clear a Pattern [
Index Sound List [225] Sound slot naming [237] number [288] quickly adjusting from the controller (Sound/Group/Project) [86] SWING button [54] [86] Sync to External MIDI Clock [132] [157] resetting [245] SOUND tab [73] Soundcard [938] input and output routing [126] selecting inputs and outputs [126] settings [126] Stand-alone application [111] Step definition [950] STEP button [62] [508] Step Grid [75] [497] definition [950] Step mode definition [950] Step mode (controller) [508] Step sequencer (co
Index T events/notes (controller) [532] Tag Filter [69] events/notes (software) [527] using [182] Tags Triggering Scenes via MIDI [622] Troubleshooting [941] assigning Types and Sub-Types [207] Tube saturation [778] creating [207] Tune quickly adjusting from the controller (Sound/Group) [87] Take Undo/Redo [88] TAP (Metro) button [506] TAP button [57] [299] TYPES Filter [167] Tape saturation [777] U Template Project Undo [87] plug-in [135] USB socket [64] stand-alone [135] Tempo quickly
Index V VOLUME button [54] [86] Variation VST plug-ins [367] accessing mode [542] VST/AU definition [948] adding to Pattern [541] applying settings to selected Sound [542] [543] Humanize mode parameters [543] W Working with Patterns Song view [850] Random mode parameters [544] VARIATION button [60] Z Velocity scaling [150] Zone page View switching [79] controller [913] software [912] Volume [67] quickly adjusting from the controller (Master/Group/Sound) [86] MASCHINE - Manual - 976
