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.
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Table of Contents Table of Contents 1 Introduction .............................................................................................................. 12 1.1 1.2 2 Welcome to MASCHINE! .............................................................................................................. 12 1.1.1 Manual Conventions .................................................................................................. 13 1.1.2 Naming Conventions ..............................................
Table of Contents 2.5 2.6 3 Browser .................................................................................................................... 43 3.1 3.2 3.3 3.4 4 2.4.6 Preferences – Hardware Tab ...................................................................................... 35 Audio and MIDI Settings ............................................................................................................. 36 2.5.1 Audio Tab ......................................................
Table of Contents 4.3 4.4 4.5 4.6 4.7 4.8 4.9 4.10 5 4.2.1 Page 1: Voice Settings and Engine ............................................................................ 63 4.2.2 Page 2: Pitch/Gate and Amplitude Envelope .............................................................. 64 4.2.3 Page 3: FX and Filter Settings ................................................................................... 67 4.2.4 Page 4: Modulation Envelope and Destination ..............................................
Table of Contents 5.2 5.3 5.4 5.5 5.6 5.7 5.8 6 The Group's Output Parameters .................................................................................................. 99 5.2.1 Page 1: Routing, Volume and Pan ............................................................................. 99 5.2.2 Page 2: Aux Pre and Post Mode (Pre Mix 1 and 2) ...................................................... 100 Saving a Group .................................................................................
Table of Contents 6.2.3 6.2.4 6.2.5 6.2.6 7 Working with Patterns (Software) ............................................................................... 124 7.1 7.2 8 Copy/Paste ................................................................................................................ 122 Nudge ........................................................................................................................ 122 Compare/Split ...............................................................
Table of Contents 8.2 8.3 8.4 8.5 8.6 9 8.1.4 Maximizer .................................................................................................................. 148 Filtering ...................................................................................................................................... 149 8.2.1 EQ .............................................................................................................................. 149 8.2.2 Filter ............................
Table of Contents 9.4 9.5 9.6 9.7 9.8 9.9 9.10 Bypassing Effects ....................................................................................................................... 181 Automating Effects and Sampler Parameters ............................................................................. 183 Applying FX to an External Instrument ........................................................................................ 184 Recording FX Automation ..........................................
Table of Contents 12.1.3 12.1.4 Groove Swing ............................................................................................................. 227 The Master Output Tab (OUT) .................................................................................... 228 13 Exporting Audio ......................................................................................................... 230 13.1 13.2 Export Audio ................................................................................
Introduction Welcome to MASCHINE! 1 Introduction 1.1 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.
Introduction Welcome to MASCHINE! 1.1.1 Manual Conventions This section introduces you to the signage and text highlighting used in this manual. This manual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected: Whenever this exclamation mark icon appears, you should read the corresponding note carefully and follow the instructions and hints given there if applicable.
Introduction MASCHINE Documentation Unlabeled Buttons and Knobs The buttons and knobs above and below the displays on your MASCHINE controller do not have labels (all other elements on the controller do). For better reference, we applied a special formatting here: throughout the document, the elements are capitalized and numbered, so the buttons are written Button (1-8), while the knobs are written Knob (1-8). E.g.
Introduction MASCHINE Documentation MASCHINE Getting Started Guide After reading the Setup Guide and following its instructions, your MASCHINE should be up and running. The next step is to read this MASCHINE Getting Started Guide. The MASCHINE Getting Started Guide first gives you an overview of MASCHINE and a practical approach to creating a project.
Basic Concepts Names and concepts you should know 2 Basic Concepts This chapter will reintroduce you to MASCHINE's main elements and terminology and explain how they relate to one another. You will also learn how to set up your audio interface and how to connect MIDI devices. Before reading this chapter it is strongly recommended that you read the MASCHINE Getting Started Guide first. 2.1 Names and concepts you should know We will start with a list defining the most important concepts and names.
Basic Concepts Names and concepts you should know Groups A Group contains 16 Sound slots, each of which can hold one Sound. In addition to the effects applied to an individual Sound, a Group can have up to 4 Insert FX. These affect all the Sounds in the Group. A Group can also contain up to 64 Patterns assigned from one of the four Pattern Banks. Refer to chapter ↑5, Creating Groups, for more information on Groups.
Basic Concepts Common Operations Modules MASCHINE contains four Module slots on each of the three MASCHINE Project levels Sound, Group, and Master. MASCHINE modules are the MASCHINE Sampler, VST/AU Plug-in Instruments or FX, internal MASCHINE FX, as well as the external Input module and the MIDI Out module. Effects (FX) MASCHINE comes with many different effects that are called FX in MASCHINE terminology. You may also use VST/AU plug-in effects too.
Basic Concepts Common Operations The View entry in the Plug-in menu. Full screen view is also available from your computer keyboard via the [F5] function key. 2.2.2 Showing and hiding the Browser Hardware ► Press and hold NAVIGATE; now press Button 5 to hide the Browser. To bring it back, press Button 5 again. The Navigate screen on the left and right display of the MASCHINE hardware controller.
Basic Concepts Common Operations The Browser button in the Header. 2.2.3 Minimizing the Arranger Hardware Press NAVIGATE + Button 6 to minimize the Arranger to the currently selected Group slot and again to show all Group slots. Software ► Click on the Minimize button (showing an arrow) on the left of the Arranger to minimize the Arranger to the currently selected Group slot and again to show all Group slots. The Arranger in minimized view showing the Group slot in focus. 2.2.
Basic Concepts Common Operations Software ► Click on the Minimize button (showing an arrow) to the left of the Control area to show and hide the Parameter pages in the Control area. The Control area in full size. 2.2.5 Hiding the Modulation Lane Hardware ► Press NAVIGATE + Button 8 to show and hide the Modulation Lane. Software ► Click on the Automation View switch on the left of the Modulation Lane to show and hide it. The Automation View switch.
Basic Concepts Common Operations 2.2.6 Navigating Parameter Pages in the Control Area In some situations, the Control area consists of more parameters than the displays can show at once. Examples of this are the Groups’ Output tab (OUT on the controller) and the Sounds’ Source tab (SRC on the controller) if set to Sampler. In these cases, the number of Parameters is divided into several Parameter pages that you can easily navigate with the hardware and software.
Basic Concepts Common Operations 2.2.7 Undo and Redo Undo and Redo are useful to cancel operations you have performed or to compare two versions before and after a change (find the Compare/Split functions explained in chapter ↑6.2.5, Compare/Split for the hardware and ↑7.2.3, Compare/Split for the software). In the MASCHINE software you can undo nearly everything you did after loading or creating your Project.
Basic Concepts Stand-alone and Plug-in Mode 2.3 Stand-alone and Plug-in Mode You can run MASCHINE software as a stand-alone application or integrate it into your favorite Digital Audio Workstation (or DAW, in short) by loading it as a plug-in. MASCHINE software is available in the VST, Audio Unit and RTAS plug-in formats. For further information on plug-in compatibility and for a detailed description of how to use plug-ins in your host, please refer to the documentation included with your host software.
Basic Concepts Preferences 2.4 Preferences You can find the Preferences dialog under MASCHINE in the Main menu (Mac OS X) or in the File menu (Windows), as well as in the File submenu of the Plug-in menu: Preferences… on the Main menu (Mac OS X depicted). Preferences… in the Plug-in menu.
Basic Concepts Preferences 2.4.1 Preferences – General Tab The Preferences – General tab. Screen Element Description Startup Reload last Project If this option is checked, the last Project you worked on when quitting MASCHINE will be loaded as soon as you start MASCHINE again. 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.
Basic Concepts Preferences Screen Element Description Sync Offset Slave Depending on variables such as the speed of your CPU, your audio interface, your MIDI interface and the Latency you selected in the Audio and MIDI Settings window, you may experience a lack of synchronization between MASCHINE and the external MIDI Master. To compensate, you can adjust this Sync Offset Slave value in milliseconds.
Basic Concepts Preferences 2.4.2 Preferences – Defaults Tab The Preferences – Defaults tab. The Defaults tab allows you to define a few default settings that will be used for every new Project. Screen Element Description Pattern Length Beats Here you can define the default length of new Patterns. Select a value by pressing your mouse button and dragging up or down.
Basic Concepts Preferences Screen Element Description Template Project Standalone Here you can select a Project to load automatically when you start a new project. The window displays the location of the Template Project currently selected for use. Click the file icon to select the Template Project you would like MASCHINE to load when used as a standalone.
Basic Concepts Preferences The User Paths tab shows the locations of all MASCHINE files and Samples you have added to the Library. By clicking on the folder icon to the right, you can change the path for example if you moved your sample folder to another location. Please consult chapter ↑3, Browser for more information on adding your own samples. Screen Element Description LOCATION Shows the path of your user content. Click the icon to change the path.
Basic Concepts Preferences 2.4.4 Preferences – Libraries Tab The Preferences – Libraries tab. Screen Element Description RESCAN Click this button to rescan the MASCHINE Factory Library or other Libraries from Native Instruments. This is useful if you have moved the Factory Library to another hard drive or to another location on the same hard drive. 2.4.
Basic Concepts Preferences The Plug-ins tab's LOCATIONS section. The LOCATIONS section also contains the following features: Screen Element Description ADD Click ADD to manually add plug-in directories. REMOVE Click REMOVE to remove directories. RESCAN If you have changed the content of the selected 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 Plug-ins tab's MANAGER section. Screen Element Description PLUG-IN Lists all available plug-ins. This includes all enabled or disabled 32-bit plug-ins, when MASCHINE is running in 32-bit mode or otherwise all enabled or disabled 64-bit plug-ins, when MASCHINE is running in 64-bit mode.
Basic Concepts Preferences Screen Element Description SELECT This allows the selection of a default configuration for the selected plug-in. Scan at startup Check this box to allow MASCHINE to automatically scan for new plug-ins on start-up. Please be aware these scans increase start-up times. If you leave this box unchecked, be sure to perform a manual scan using the RESCAN button when new plug-ins are installed or plug-ins are removed.
Basic Concepts Preferences Screen Element Description PLUG-INS The plug-ins listed here are known to MASCHINE, but cannot be used in the current bit-mode. This section is provided for information only. If MASCHINE is used in 64-bit mode, only 32-bit plug-ins will be listed here and vice versa. If you only have 32-bit or 64-bit plug-ins installed then no 64 BIT or 32 BIT tab will be shown respectively.
Basic Concepts Audio and MIDI Settings Screen Element Description Pads Sensitivity Slider Use the Sensitivity Slider to adjust how sensitive the pads respond to your touch. This sets the minimum threshold at which MASCHINE hardware controller will register a “hit.
Basic Concepts Audio and MIDI Settings 2.5.1 Audio Tab The Audio tab of the Audio and MIDI Settings dialog. Screen Element Description Driver Select your audio driver here. Device This allows you to choose available devices if you have connected more than one audio interface. Status This shows you whether your audio interface is currently running.
Basic Concepts Audio and MIDI Settings Screen Element Description Sample Rate The currently selected sample rate of your audio interface. Please restart MASCHINE after changing the sample rate. Latency Mac OS X: This slider allows you to adjust the latency of your audio interface in samples. Lower values result in a more immediate playing response but are heavier on both the CPU and the audio driver, and may result in audible clicks and pops.
Basic Concepts Audio and MIDI Settings Screen Element Description Inputs By clicking on this button, you can define which two inputs on your audio interface will be seen by MASCHINE. Select the Inputs of your audio interface on the right column by clicking on 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 Connecting External MIDI Equipment Screen Element Description Inputs Clicking on Inputs displays a list of all the available MIDI Inputs of your system. You can activate each Input by clicking in the Status column. Outputs Clicking on Outputs displays a list of all the available MIDI Outputs of your system. You can activate each output by clicking in the right column that displays the current status of the corresponding port.
Basic Concepts Connecting External MIDI Equipment 2.6.1 Sync to External MIDI Clock MASCHINE can be controlled externally via MIDI Clock by any device that is capable of sending MIDI Clock. This could be hardware such as a drum machine, another groovebox or sequencer, or even another software sequencer. To enable this, select the Sync to External MIDI Clock entry from the File menu: Sync to External MIDI Clock activated.
Basic Concepts Connecting External MIDI Equipment Send MIDI Clock activated.
Browser 3 Browser The Browser is the place where you can organize and categorize all of your Samples, Sounds, Groups, Projects, Patterns, Instruments, and FX Presets. 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.
Browser Elements of the Browser 3.1 Elements of the Browser The elements of the Browser. (1) Disk button: Use the DISK button to switch between the Browser and access to your computer hard drives.
Browser Elements of the Browser (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, Pattern, Instrument, FX, and Sample. By clicking one of them it causes only the files of the selected type to be displayed in the Search Result list. (3) Tag Filter: The Tag Filter allows you to search for file types based on tags that have been applied to them.
Browser Elements of the Browser 3.1.2 File Type Selector The File Type selector. (1) Project: (.mprj) (2) Groups: (.mgrp) (3) Sounds: (.msnd) (4) Patterns: (.mpat) (5) Instruments: (.mfxp) (6) FX Presets: (.mfxp) (7) Samples: (.wav, .aiff) The File Type selector only appears by when you have selected the Library using the DISK button in the Browser Mode selector.
Browser Elements of the Browser The Tag Filter with the file type Sample selected. Screen Element Description BANK The BANK category is meant to define a basic structure. If you add a large library with many types of Samples, this might be the place to put its name. TYPE The TYPE category is the first in the tag hierarchy of MASCHINE, and should be used to categorize your file in a general way. SUBTYPE With the SUBTYPE, you can narrow down the description of your file even further. 3.1.
Browser Elements of the Browser 3.1.5 Search Result List The search result list (RESULTS) shows all the files that match your query. Double-clicking one of the matches will load the respective file. Depending on what File type you have selected, the file will be loaded to different locations within MASCHINE: The search result list showing Kicks from the MASCHINE Factory Library. ▪ If it is a Project it will load all associated files replacing all files currently in memory.
Browser Elements of the Browser ▪ If it is a Sample, it will be loaded into the selected Zone of the Sound in focus replacing the current one. You can also load presets into specific Modules by dragging them from the Browser and dropping them on the desired location. 3.1.6 Locating missing Samples If you are loading a MASCHINE Project and the referenced samples cannot be found for any reason, a dialog in which you can locate the missing samples will open.
Browser Adding your Own Samples The Purge Missing Samples and the Find Missing Samples… entries in the MASCHINE plug-in's File menu. ► Select Purge Missing Samples to remove all Sounds with missing samples from your MASCHINE Project. 3.2 Adding your Own Samples Apart from the huge Library, you might still want to use your own Samples. The supported file types are Wav and Aiff. To be able to find them in the Browser from the hardware, you will have to import them into the Library.
Browser Adding your Own Samples The Browser with DISK selected showing the available volumes. In the tree view, choose the directory that contains your Samples. You can pre-listen the Samples automatically before loading them by activating the Audition function in the lower row of the Browser: 1. 2. Click on the Audition button (speaker symbol) to activate the Audition function. Adjust the pre-listening volume by moving the volume slider to the right of the Audition button.
Browser Adding your Own Samples 3.2.1 Importing a Sample Into the Library Selecting a Sample on your hard drive. After you have found your Sample, you can add it to the Library by clicking the IMPORT button. If you want to add multiple files at once, such as a folder of your favorite Samples, you can select the whole folder and tag all files at once using the same dialog as when importing single files.
Browser Adding your Own Samples you will be presented with the Tag Editor to tag the Sample(s) you are about to import to the Library. You can also apply/remove tags at any time, after they are imported. However, it may be best to tag files on import, since it will make it easier to find them later. Please be aware there is no UNDO/REDO commands available for Tagging. 3.2.
Browser Quick Browse Adding a new Tag in the TYPE column. To add a new Tag, click on this entry and enter the Tag name with your computer keyboard. The new Tag will then be available in that Tag category. Editing Tags It's possible to edit existing Tags on the files in your Library. Click the file you want to edit and the existing Tags for that file will appear in the search result list (RESULTS). Click the EDIT button and select/deselect Tags by checking/unchecking the respective checkmarks next to them.
Browser Quick Browse a considerable amount of time). With Quick Browse you can restore the query with just one click. Quick Browse is available in Module 1 (for Instruments, Sounds and Samples), in Module 2-4 (for FX), in the GROUP tab (for Groups), in the MASTER tab (for Projects). 3.3.1 Using Quick Browse The Quick Browse function in the SOUND tab. The Quick Browse function is activated by clicking on the Magnifier Tool next to the file name.
Browser The Browser on the Hardware This allows you to listen to Samples, Sounds, Groups, and FX Presets which will be instantly loaded and can be listened to in context with the rest of your Project while it is playing. To deactivate this function, just click the Swap button in the bottom row of the Browser again.
Browser The Browser on the Hardware Tag Level Description BANK The BANK category is meant to define a basic structure. Examples for the BANK category from the Factory Library are DRUMS or ONE SHOTS or FACTORY FX. TYPE The TYPE category is the first in the tag hierarchy of MASCHINE and categorizes the file in a general way. Examples for the TYPE category from the Factory Library are BRASS, ANALOG FX or KICK. SUBTYPE With the SUBTYPE, you can narrow down the description of your file even further.
Sound Slots 4 Sound Slots A Sound can hold up to four modules which can be configured as a Sampler, VST/AU Plug-in Instrument or FX, internal MASCHINE FX, as well as an external Input, or a MIDI Out module. Each Sound of the selected Group is mapped to one of the 16 pads on the MASCHINE hardware controller, so you can play the Sounds by pressing the pads. Sound slots in MASCHINE.
Sound Slots Defining a Sound Slot's Role ▪ host VST/AU instruments (Plug-ins) ▪ host internal MASCHINE effects and VST/AU effects (FX) In MASCHINE terminology, the above are called sources. Using a Sound slot as a Sampler, you can fill it with either one audio file (a Sample in MASCHINE terminology), or with multiple audio files mapped across the keyboard.
Sound Slots Defining a Sound Slot's Role ▪ Sampler: allows the selected Sound slot to play back Samples. This is the most common source type, as adding a Sample to the Sound slot will automatically set the source to Sampler. The Sampler can only be used in Module 1 of a Sound. ▪ Input: this allows the selected Sound slot to be available as a bussing point for external and internal signals. Input can only be used in Module 1 of a Sound.
Sound Slots Defining a Sound Slot's Role 9. If you want to load a plug-in INSTRUMENT or FX change the TYPE to PLUG-IN. 10. Once again, using Knob 2, set the SUBTYPE entry to INSTRUMENT or FX. The right display now shows the list of available the available plug-in sources. 11. Turn Knob 5 to browse the available sources. 12. When you have found the instrument plug-in you want to use, press Button 8 to load it. 4.1.
Sound Slots The Sampler Parameters in Module 1 Sampler Parameters are not available for VST/AU Plug-ins.
Sound Slots The Sampler Parameters in Module 1 In the software, step through Parameter pages by clicking the Parameter Page selector's arrow button. 4.2.1 Page 1: Voice Settings and Engine Sampler VOICE SETTINGS on the hardware. Sampler Voice Settings on the software. Screen Element Description Voice Setting Controls Polyphony Here you can define a voice limit for the Sound. The default value is 8, the minimum 1 and the maximum 32 voices. You can also set this to Legato.
Sound Slots The Sampler Parameters in Module 1 Screen Element Description Choke Group You can choose one of the 8 Choke Groups here or leave this option set to Off. If you assign more than one Sound to the same Choke Group, they will cancel each other out. This is a behavior you can find in vintage drum machines (typically used to “choke” the open hi-hat with the closed one), but also in monophonic synthesizers that are only capable of playing one note at a time.
Sound Slots The Sampler Parameters in Module 1 Sampler Pitch / Gate on the software. Pitch/Gate Controls 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 (can also be modulated with Velocity control see ↑4.2.6, Page 6: Velocity Destination and Modwheel Destination). Reverse If Reverse is activated, the Sample will be played backwards.
Sound Slots The Sampler Parameters in Module 1 AHD mode activated. AHD: AHD mode disables the Sustain and Release controls, and replaces them with the Hold parameter. AHD mode is ideal for “fire and forget” behavior, whereby you would like to have the sound trigger for a certain amount of time regardless of how long you hold the pad down. ADSR mode activated. ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control.
Sound Slots The Sampler Parameters in Module 1 Amplitude Envelope Controls Sustain Sustain determines the constant level being kept after Decay until the note ends. This can also be controlled by an external MIDI controller or keyboard using MIDI CC 64. Release Release determines how long the sound takes to fade out after the note has ended. 4.2.3 Page 3: FX and Filter Settings Sampler FX settings on the hardware. Sampler FX settings on the software.
Sound Slots The Sampler Parameters in Module 1 Filter Modes The Mode menu in the Filter section gives you access to a set of different filters. Using the arrows you can choose from different filter type settings: Off, HP2, BP2, LP2, and EQ. Each type results in different parameters to the right of it: Filter Controls LP2 LP2 is a low-pass filter with Cutoff and Resonance. Cutoff can be modulated by Velocity, the Modulation Envelope, the LFO or the MIDI Modulation Wheel.
Sound Slots The Sampler Parameters in Module 1 Modulation Envelope The Modulation Envelope offers an envelope that shapes the modulation you apply to your Sound. Its parameters are matched to those of the Amplitude Envelope on page 2, so that you have either an ADSR (Attack, Decay, Sustain, Release) envelope or an AHD (Attack, Hold, Decay) envelope to control your modulations. If you choose Oneshot mode, only the AHD envelope (pictured) will be available for modulation.
Sound Slots The Sampler Parameters in Module 1 Sampler LFO on the software. LFO The LFO (Low Frequency Oscillator) is another modulation source based on waveforms with different shapes. LFO Controls Type Here you can choose the shape of the LFO waveform. Available shapes are Sine, Tri (Triangle), Rect (Rectangle), Saw, and Random. Speed Controls the speed of the LFO measured in Hz (Hertz). If you choose to synchronize the Speed by activating Sync, it will show musical values instead.
Sound Slots The Sampler Parameters in Module 1 4.2.6 Page 6: Velocity Destination and Modwheel Destination Sampler VELOCITY DESTINATION on the hardware. Sampler Velocity Destination on the software. Velocity Destination Velocity Destination Controls Start This is a built-in modulation source that allows you to modulate the sample Start parameter on page 2 based on the input velocity.
Sound Slots Loading an Instrument Plug-in Modwheel Destination Modwheel Destination Controls Start Here you can determine how incoming MIDI Modulation Wheel data affects the Start parameter on page 2. Cutoff This allows you to modulate the Cutoff parameter of the Filters with filter types LP2, BP2, HP2 (on page 3) using the MIDI Modulation Wheel. LFO Depth Here you can adjust the effect of the MIDI Modulation Wheel data on the LFO Depth of the LFO on page 5.
Sound Slots Loading an Instrument Plug-in 7. Using Knob 2, set the SUBTYPE entry to INSTRUMENT. The right display now shows the list of available instrument plug-ins. 8. 9. 10. 11. 12. Turn Knob 5 to browse the available instruments. When you have found the instrument plug-in you want to use, press Button 8 to load it. Press the CONTROL button to switch back to Control mode. Now you can try out the instrument plug-in by playing the pad. Edit the plug-in parameters using the Knobs 1-8. 13.
Sound Slots Loading an Instrument Plug-in 2. Click on the Sound slot you want to load an instrument to. 3. Click on the first Module slot (only Module slot 1 can host instrument plug-ins) and click the drop-down arrow at the right end of it.
Sound Slots Loading an Instrument Plug-in 4. Select Plug-ins from the menu to get a list of all available instrument plug-ins. 5. As an example: let’s choose the Native Instruments KONTAKT plug-in. After selecting it with the mouse, KONTAKT will be loaded, and its parameters will be displayed on the parameter area of the Module tab: Now you can try out the instrument plug-in by pressing the pad. 6.
Sound Slots Loading an Instrument Plug-in 4.3.1 Opening and Closing Plug-in Windows You can open floating windows for all plug-ins of a MASCHINE project. MASCHINE will always show the open floating windows of the selected Sound, Group or the Master at a time. MASCHINE with GUITAR RIG and MASSIVE plug-in user interfaces opened. You can open or close floating windows for plug-ins as described in the following.
Sound Slots The Sampler Parameters in the Sound’s Output Tab (OUT) An edit icon appears when the mouse curser is placed over the REAKTOR logo. To open a floating window for the plug-in: 1. 2. Place your mouse cursor over the plug-in icon; an EDIT button appears. Click the EDIT button to open the plug-in in a separate floating window. A second click on the EDIT button will close the plug-in window.
Sound Slots The Sampler Parameters in the Sound’s Output Tab (OUT) Page 1 of 2 from the Sampler Output tab on the software. Main Main Output Controls Output This is used to define where you want to send your Sound. Available options are Master, Group, any other Sound within the Project whose Source type is set to Input, the External Outputs 1-8, and None. Level Here you adjust the overall volume level of your Sound. Pan Defines the pan position of your Sound in the stereo field.
Sound Slots The Sampler Parameters in the Sound’s Output Tab (OUT) 4.4.2 Page 2: Pre Mix Options Page 2 of 2 from the Sampler Output tab on the hardware. Page 2 of 2 from the Sampler Output page on the software. Aux Mode Parameter Description Pre Mix 1 If this is enabled, the Sound will be fed into Aux 1 before Main Level and Pan of the Sound. Pre Mix 2 If this is enabled, the Sound will be fed into Aux 2 before Main Level and Pan of the Sound. 4.
Sound Slots Copying and Pasting Sounds Saving a Sound. The Sound will be added to the Library and is ready to be tagged. Saving a Sound is only available in MASCHINE software. Once a Sound is saved and tagged, it is available from the Browser for use in other Groups and Projects. 4.
Sound Slots Resetting a Sound Copying a Sound. 4.7 Resetting a Sound Resetting a Sound results in removing its associated Sample(s) and FX as well as putting all Sampler Parameters back to their default value. Hardware ► Hold SHIFT + ERASE and then touch the pad corresponding to the Sound to be reset. Software ► To reset a Sound, right-click (on Mac OS X: [Ctrl]-click) the Sound slot and choose Reset from the drop-down menu.
Sound Slots Mute and Solo Resetting a Sound. 4.8 Mute and Solo Muting is used to bypass the audio signal of either a Sound or a Group, whereas Solo is pretty much the opposite: it mutes all other Sounds and Groups, so that you can listen to the selected Sound or Group alone. The combination of both is a useful means to play live and to test different sequences together. 4.8.
Sound Slots Mute and Solo The Solo Screen on the hardware. Muting Sounds and Groups Mute works in the same way as the Solo mode: hold MUTE to mute Sounds by pressing their respective pads, and Groups by pressing the Group buttons. You can also lock the Mute function by pressing MUTE and Button 1 at the same time and unlock it by pressing MUTE again.
Sound Slots Mute and Solo Soloing the Kick Sound. ► To unsolo a Sound, right-click (on Mac: [Ctrl]-click) on the pad icon again. Soloing a Group ► To solo a Group, right-click (on Mac OS X: [Ctrl]-click) on the Group icon in the Arranger: Soloing a Group. ► To unsolo a Group, right-click (on Mac OS X: [Ctrl]-click) on the Group icon again. Muting a Sound ► To mute a Sound, click on the pad icon in the Pattern Editor. Muting a Sound.
Sound Slots Loading REX Files ► To unmute the Sound, click on the pad icon again. Muting a Group ► To mute a Group, click on the Group icon in the Arranger: Muting a Group. ► To unmute the Group, click on the Group icon again. 4.9 Loading REX Files MASCHINE supports REX (ReCycle) files to be loaded. REX files are loops that are already sliced and mapped to MIDI notes. Only REX2 files are currently supported. A REX file loaded on Sound 1 in the Piano Roll/Keyboard view.
Sound Slots Sound MIDI Options 4.10 Sound MIDI Options MASCHINE’s Groups and Sounds can be triggered via MIDI, both globally and individually. To configure the appropriate MIDI settings, you have two functions at your disposal: Sound MIDI Batch Setup (for whole Groups) and Sound MIDI Settings (for individual Sounds). Furthermore, you can configure your Sounds’ outputs for sending MIDI data. You can also trigger your Scenes using MIDI messages. Please refer to section ↑10.
Sound Slots Sound MIDI Options The Sound MIDI Batch Setup dialog. Sound MIDI Batch Setup Options Mapping Mode Mode Description Restore Defaults Select this radio button to restore the Sound MIDI Batch Setup to its default values. In the default state, each Sound in this Group will receive notes from all MIDI channels, as long as it is in focus. Sounds to MIDI Channels Select this radio button to have Sounds mapped to individual MIDI channels. This is useful if you want to play a Sound in a tonal way.
Sound Slots Sound MIDI Options 4.10.2 Sound MIDI Settings You can also assign individual Sounds to MIDI. This is done in the Sound MIDI Settings. Right-click (on Mac OS X: [Ctrl]-click) on the Sound slot of a Sound and choose Sound MIDI Settings from the pop-up menu. Choosing Sound MIDI Settings for a Sound.
Sound Slots Sound MIDI Options The Sound MIDI Settings dialog. Note: if the Sound MIDI Settings are disabled (i.e., the checkbox is unchecked), any incoming MIDI note will trigger the Sound as long as the Sound is in focus. Sound MIDI Settings Status Options Enable To enable Sound MIDI Settings, click this checkbox. Input Options Channel Choose on which MIDI Channel the Sound will receive MIDI by selecting it in the drop-down menu.
Sound Slots Sound MIDI Options Combining the MIDI Settings for Scenes, Groups and Sounds, you can easily create your custom MIDI setup and create a keyboard split for your live-set, for example: first octave controlling the Scenes, second octave controlling your drum kit, third one for the piano sound and so forth. The settings for Sounds have a higher priority than the Group settings, as well as the settings for Groups have a higher priority than the Scene settings. 4.10.
Sound Slots Sound MIDI Options Software 1. 2. Select an empty Sound slot by clicking on it. Select Module 1 and click on the arrow to open the drop-down menu. 3. Choose MIDI Out, then select the MIDI Channel you want the Sound to send MIDI to.
Creating Groups The Group Property Pages 5 Creating Groups A Group contains 16 Sound slots with all their parameters. It can have up to four Insert FX and up to 64 Patterns assigned to it, which are organized in 4 Banks. More on Patterns in chapter ↑6, Working with Patterns (Hardware) and chapter ↑7, Working with Patterns (Software). 5.1 The Group Property Pages Use the Group Property pages to control the Source, Groove, Macro and Output properties. 5.1.
Creating Groups The Group Property Pages The Group Source tab parameters on the software. Page Parameters Parameter Description Voice Settings Polyphony Here you can define a voice limit for the Group. The default value is 16, the minimum 1 and the maximum 32 voices. Pitch Tune This parameter provides tuning for the Group as a whole: all Sounds of the Group will be tuned together. Dial it to the right to get a higher pitch and to the left to get a lower pitch. 5.1.
Creating Groups The Group Property Pages For a quick and easy way to edit Group Swing; press a Group button, then turn the SWING knob. Software To access the Group Groove Property page: 1. 2. Select the GROUP tab. Click the GRV button. The Group Groove page on the software. Page Parameters Parameter Description Swing Swing Groups can have an individual Swing value independent of the Global Swing and Swing settings applied to individual Sounds.
Creating Groups The Group Property Pages your host for each MASCHINE Macro controller. Please refer to the manual of your DAW software for more information. In addition, Macro controls also allow you to control parameters through external MIDI controllers using MIDI CCs. Finally, you can record them as automation in a Pattern (for more information on that, see section ↑7.2.5, Recording and Editing Automation). To assign Macro controls you must use the MASCHINE software. The Macro controls on the software.
Creating Groups The Group Property Pages Tune assigned to a Macro control. On the Macro page you will see the name of the assigned parameter now under the Macro Control. Removing a Parameter from a Macro Control To remove a parameter from the assigned Macro control, right-click (on Mac OS X: [Ctrl]-click) on it and select the Remove Macro Control entry from the pop-up menu: Removing a parameter from a Macro control.
Creating Groups The Group Property Pages Assigning MIDI CC 1 to Macro control 1. Alternatively, you can also let MASCHINE learn the MIDI CC it is supposed to react to. Choose MIDI Learn from the pop-up menu and move the desired knob or fader on your connected MIDI controller: Selecting Enter MIDI Learn in the pop-up menu.
Creating Groups The Group Property Pages The white dot next to the Macro control. When the MIDI CC has been received, the white dot will stop flashing. Macro Controls can also be controlled by Host Automation. Each MASCHINE Macro Control has a unique Automation ID, which is provided to your host/DAW by the MASCHINE plug-in. 5.1.4 Accessing Macro Controls from the Hardware To access the Macro Controls: 1. 2. 3. 4. 5. Press CONTROL to enter Control mode.
Creating Groups The Group's Output Parameters 5.2 The Group's Output Parameters 5.2.1 Page 1: Routing, Volume and Pan Software To access the Group Output pages: 1. 2. Select the GROUP level tab. Click the OUT button to open the Group Output pages. Page 1 of 2 from the Group's Output pages on the software. Page Parameters Parameter Description Main Output This is used to define where you want to send your Group.
Creating Groups The Group's Output Parameters Page Parameters Parameter Description Destination The destination for Aux 2: available destinations are Master, all Sounds with Input enabled, the External Outputs 1-8 and None. Level Here you adjust the amount of the signal that gets sent to the Aux 2 destination. Hardware To access page 1 of the Group Output pages: 1. 2. 3. 4. Press CONTROL to enter Control mode.
Creating Groups Saving a Group Page Parameters Parameter Description Aux 1 Pre Mix 1 If this is enabled, the Group will be fed into Aux 1 before the volume control of the Group. Aux 2 Pre Mix 2 If this is enabled, the Group will be fed into Aux 2 before the volume control of the Group Hardware To access page 2 of the Group Output pages: 1. 2. 3. 4. 5. 6. 7. 5.3 Press CONTROL to enter Control mode. Select the Group with the Macro Controls you want to access by pressing a Group button A-H.
Creating Groups Copy and Paste Groups Saving a Group. The Group will be added to the Library and is ready to be tagged. Saving a Group is only available on MASCHINE software. After saving and tagging a Group it will become available in the Browser for use in other Projects. 5.4 Copy and Paste Groups Hardware ► To copy and paste a Group: hold DUPLICATE, press the Group button of the Group you want to copy, and then the Group button of the target Group.
Creating Groups Resetting a Group Copying a Group. 5.5 Resetting a Group Resetting a Group means removing the associated Sounds and FX as well as putting all Group parameters back to their default value. Hardware ► Hold SHIFT + ERASE, then press the Group button for the Group to be reset. Software ► To reset a Group, right-click (on Mac OS X: [Ctrl]-click) the Group slot and choose Reset from the drop-down menu.
Creating Groups Naming Groups & Sounds Resetting a Group. 5.6 Naming Groups & Sounds Each Sound automatically gets the name of the Sample loaded into it; if there is no Sample, the name will be Sound 1-16 by default. Sounds are also automatically renamed if their Source tab is set to Input or MIDI Out: they're renamed to "Input 1-16" and "MIDI Out", respectively. 1. To name a Sound, double-click on its Sound slot. 2. You can now edit the name of that Sound.
Creating Groups Loading Groups without Patterns Renaming a Group. Naming is only available from within the software, but any changes will also show up on the hardware. 5.7 Loading Groups without Patterns If you want to build a Group from scratch, you can load Groups without Patterns both on the MASCHINE hardware controller and MASCHINE software. In this case, previously loaded Patterns will not be removed, enabling you to try out a Pattern using different Sounds. Hardware 1. 2. 3.
Creating Groups MPC Program Import to Groups A selected Group in the Browser with the Pattern load option unchecked. 5.8 MPC Program Import 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. 5.8.
Creating Groups MPC Program Import to Groups MPC Parameter MPC500, 1000, 2500 MPC4000 MPC2000 (XL) MPC3000 MASCHINE Parameter Sample Name x x x x Sample Name Play Mode x x − − Playback Type (ADSR, Oneshot, AHD) Sample Level x x − − Zone Level Sample Pan − x − − Zone Pan Range Lower/Higher x x − − High/Low Key Tuning x x x x Tune Attack x x x x Attack Decay x x x x Decay Voice Overlap x − x x Polyphony Filter1 Type x − − − Filter Type Filter1 F
Creating Groups MPC Program Import to Groups 2. Navigate to the MPC Program you want to import and double-click it. You will be prompted with the MPC dialog: 3.
Creating Groups MPC Program Import to Groups Input Input Description Import All Banks Here you can import all Banks of an MPC Program. Each Bank will be loaded into a separate Group. Import Single Bank If you only want to import a single Bank choose this option. Use the dropdown 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. ► Click OK to start the import procedure.
Working with Patterns (Hardware) Creating Patterns 6 Working with Patterns (Hardware) Creating a Pattern is where the fun starts, because the Sequencer really is the core of MASCHINE. It comes with an easy to use Pattern Editor and sophisticated automation possibilities. 6.1 Creating Patterns 6.1.1 Pattern Mode The Pattern mode is where you select your Patterns, change their length, remove Patterns or double their content. Each Group can have up to 64 Patterns organized into 4 banks.
Working with Patterns (Hardware) Creating Patterns Duplicating a Pattern To duplicate a Pattern select it by pressing its corresponding pad in Pattern mode, then press Button 3 (DUPL). The Pattern will be copied to the next empty Pattern slot available. Copy and Paste a Pattern To copy a Pattern to another Pattern slot, press DUPLICATE + PATTERN, press the pad of the Pattern you want to copy, and then the target pad for the Pattern copy.
Working with Patterns (Hardware) Creating Patterns Parameter Parameter Description KEYBD (Button 2) Pressing KEYBD (Button 2) will get you into Piano Roll/Keyboard mode. This mode is described in more detail below. 16 VEL (Button 3) Activates the 16 Velocities setting for the currently selected Sound. This allows you to play the currently selected Sound in 16 different velocity values using all pads. FIXED VEL (Button 4) Activates the Fixed Velocity setting for all pads.
Working with Patterns (Hardware) Creating Patterns 3. 6. Deselect KEYBD (Keyboard) if it is already selected, then press the pad you want to assign to a Pad Link group. The name of the Sound will appear in the right display. On the left display, change the Pad Link in the LINK GRP menu to the desired group using Knob 1. Set the Pad Link Group (LINK MODE) to Master or Slave mode for this pad using Knob 2 7. Repeat the process to link each pad to a Pad Link group. 4. 5. 6.1.
Working with Patterns (Hardware) Creating Patterns Recording Mode By default, all pad hits are added as events/notes when the Pattern cycles. This is called the Overdub mode. You can easily switch to Replace mode if you press REC + ERASE at the same time. In Replace mode, already recorded notes are replaced by what you play now. If you press ERASE together with a pad, while recording, all events at the currently played position are deleted (see below).
Working with Patterns (Hardware) Creating Patterns The Step Sequencer on the hardware displays the first bar of a four-bar pattern. 1. 2. Press the pad with the Sound you want to record to select it and press PLAY. Press STEP. Now you will see a light chasing through the pads, starting from pad 1, going up all four rows from left to right and ending at pad 16. All of this is recorded immediately, even if REC is not enabled. 3.
Working with Patterns (Hardware) Creating Patterns A typical 4/4 kick line in Step Sequencer mode. 6.1.8 Using Note Repeat Note Repeat is a really handy way to program beats: it plays the selected Sound automatically at a given quantization. Note Repeat mode on the hardware displays. 1. While holding NOTE REPEAT, press the pad you want to record. The notes will now be repeatedly triggered at the selected quantization (shown on the right display).
Working with Patterns (Hardware) Creating Patterns 2. 3. With Buttons 5-8, you can select different quantization settings while playing. If you want to use quantization settings other than the ones currently on display, turn Knobs 5-8 to select the desired quantization setting. You can lock Note Repeat by pressing NOTE REPEAT + Button 1. ▪ In Note Repeat all pads will be both velocity and pressure sensitive, allowing for expressive drumrolls or dynamic basslines.
Working with Patterns (Hardware) Creating Patterns If you prefer to play your melodies with a MIDI keyboard, you can connect one to the MIDI In on the back of the MASCHINE hardware controller. You can also use any USB-MIDI keyboard selected in the Audio and MIDI Settings (see chapter ↑2.5, Audio and MIDI Settings to get to know how to set these up). The connected MIDI input device will always play the currently selected Sound without the need to enter Piano Roll / Keyboard mode.
Working with Patterns (Hardware) Creating Patterns Select box parameters are not automatable. 6.1.11 Recording Automation in the Step Sequencer It is also possible to record automation in the Step Sequencer. Enter the Step Sequencer by pressing STEP. Press the pad representing the step you want to automate. The screens will switch to parameter view. With the Page buttons left of the displays you can select parameter pages now, with the knobs under the displays you can edit the parameters for this step.
Working with Patterns (Hardware) Creating Patterns The Pattern Length Grid on the hardware. Choose the Pattern Length Grid using the pads in a range from 1/1 (one full note) to 1/64T (1/64 th note triplet); you can also turn it off by pressing pad 16. Try a short quantization like ¼ note and change the Pattern Length setting in Pattern mode using Button 1 to create variations of a Pattern. If you select an even higher value like 1/64th, you can create stuttering breaks and rolls.
Working with Patterns (Hardware) Editing Patterns 6.2 Editing Patterns 6.2.1 Selecting Notes and Events You can select particular notes and events from your hardware. To do this, hold SELECT and press Button 2 (EVENTS). While further holding SELECT, you can now select notes and events of Sounds using their pads. The notes and events of every additional Sound you select using the pads will be added to the selection. If you press a pad again, the events of the Sound will be removed from the selection.
Working with Patterns (Hardware) Editing Patterns 6.2.2 Erase/Clear To erase notes, press both ERASE and the pad containing the desired Sound while the pattern is playing. The notes will be erased only during the moment the pad is held down; you can use this to selectively erase notes at a particular place in the pattern. This might take some time getting used to, especially when the tempo is very fast, but you can always use Undo/Redo (SHIFT + pad 1, SHIFT + pad 2) to get back to where you were before.
Working with Patterns (Hardware) Editing Patterns that this pattern change is temporarily saved in a buffer and can be compared with the original state via SHIFT + pad 3. If you select another pattern or leave the pattern mode, the latest state of the pattern will be stored, the pattern slot will no longer show the asterisk. To switch between the edited pattern and its original state, press SHIFT + pad 3 (COMPARE).
Working with Patterns (Software) The Pattern Editor 7 Working with Patterns (Software) 7.1 The Pattern Editor The Pattern Editor. (1) Step Editor View switch: Use this button to select the Pattern Editor view. (2) Dragger icon: The Dragger icon allows you to conveniently drag and drop audio or MIDI patterns to your desktop or host software. (3) Step Editor: Here you can see rectangular blocks known as Events from the selected Pattern slot.
Working with Patterns (Software) The Pattern Editor (4) Piano Roll / Keyboard View switch: Use this button to select the Piano Roll / Keyboard view. (5) Sampling View switch: Use this button to select the Sampling view. (6) Sound slots: Sound slots 1-16 of a selected Group are listed here. Click a Sound slot to bring it into focus.
Working with Patterns (Software) The Pattern Editor The Step Editor with Pattern 1 selected. You can distinguish between different Pattern states by the brightness of the Pattern slots: the brightest slot represents the currently selected one, a little less bright (on the picture: slots 2 to 3) are the ones that have content but are not selected, the empty ones (all others starting with slot 4) being the darkest ones.
Working with Patterns (Software) The Pattern Editor Copying a Pattern. Now select an empty Pattern, right-click (on Mac OS X: [Ctrl]-click) on its Pattern slot and choose Paste from the drop-down menu to paste it to that Pattern. 7.1.3 Resetting Patterns You can reset Patterns choosing Reset from the drop-down menu pictured above. This will erase all notes as well as any automation data and reset the Pattern Length. This is equivalent to using Clear (SHIFT + pad 9) on the hardware. 7.1.
Working with Patterns (Software) Editing Patterns Saving a Pattern. As with most saving operations, saving a Pattern is only available on MASCHINE software. 7.2 Editing Patterns You can enter notes by double-clicking in the Grid of the Pattern Editor. They will be applied according to the selected Step Grid. To delete them, you can either double-click or right-click (on Mac OS X: [Ctrl]-click) them. In the Step Editor, the Sound in focus will change according to the row you put the note in.
Working with Patterns (Software) Editing Patterns Action Function Double click on note Delete selected note(s) Alt (Mac OS X: [Cmd]) + drag on note vertically Adjust note velocity Switching to Paint Mode To switch the mouse behavior to Paint mode, check the PAINT checkbox at the bottom of the Pattern Editor. With Paint mode enabled, the mouse works like a paint-brush tool. Clicking and holding the left mouse button down will set notes everywhere you move the cursor.
Working with Patterns (Software) Editing Patterns 7.2.3 Compare/Split Compare and Split is useful to create variations of a Pattern and to compare them. Compare and Split are accessed by right-clicking (Mac OS X: [Ctrl] + click) on the Pattern slot and choosing the appropriate entry from the drop-down menu: Compare/Split in the drop-down menu.
Working with Patterns (Software) Editing Patterns The software view of the Piano Roll/Keyboard Editor. 7.2.5 Recording and Editing Automation If you take a closer look at the knobs on the Parameter pages in the Control area, you will notice they have an outer ring that changes its color to light grey as soon as you hover over it with the cursor. You can record automation by moving that ring with a left click on it and then dragging it up and down during playback.
Working with Patterns (Software) Editing Patterns To edit the automation, drag the automation points in the Automation Lane. You can select several automation points in the Automation Lane together by clicking and dragging a rectangle around them; now you can edit them by dragging them up or down. You will see that they keep their relative distance although they change their absolute values. Another way to create automation is to draw it with the mouse.
Working with Patterns (Software) Editing Patterns The Add Modulator drop-down menu showing a list of automatable parameters. In the Automation Lane, you can now add automation points for the selected parameter by clicking in it, even if there is no note data present. The automation points will snap to the selected Step Grid. If you want to automate Group parameters, just click on the GROUP tab in the Control area to be presented with available parameters of the Group.
Working with Patterns (Software) Editing Patterns 7.2.7 Step Grid, Pattern Length Grid and Quantization Step Grid The Step Grid determines the quantization of the notes entered in the Pattern. It ranges from 1/1 (one full note) to 1/64T (1/64th note triplet) and can also be turned off. The default value is 1/16th. Select the Step Grid by clicking the STEP label in the Edit controls, at the bottom left. This opens a drop-down menu: The drop-down menu of the Step Grid.
Working with Patterns (Software) Editing Patterns Available resolutions of the Pattern Length Grid. Now you can choose the Pattern Length Grid in a range from 1/1 (one full note) to 1/64T (1/64th note triplet); you can also turn it off.
Working with Patterns (Software) Editing Patterns Pattern Length ► Adjusting the Pattern Length is done by clicking on the number in the right part of the Pattern Length controls: drag it up to make the Pattern longer or drag it down to make it shorter. Adjusting the Pattern Length The Pattern length depends on the Pattern Length Grid, as it will alter the Length of the Pattern in increments of the Pattern Length Grid.
Working with Patterns (Software) Editing Patterns Quantization To apply quantization after recording some notes from a connected MIDI-keyboard or after changing the Step Grid to another value, you can do so by right-clicking (on Mac OS X: [Ctrl]click) on the Pattern icon. If notes and events are selected, the quantization will only affect the selected ones; if no note or event is selected, the whole Pattern content will be quantized. Quantize function for the Pattern content.
Working with Patterns (Software) Editing Patterns 7.2.8 Pad Link Pad Link can be used to trigger multiple Sounds when pressing only one Pad. Each pad of a Group can be assigned to one of eight Pad Link groups. A pad may be set as a Master or Slave. By default, a pad is set to Master and will trigger other pads in the same Pad Link group. A pad set to Slave will only trigger the Sound on that pad, even if it is part of a Pad Link group (but be triggered by pads set to Master).
Working with Patterns (Software) Editing Patterns 2. Right-click the desired Sound and select Pad Link from the menu ([Ctrl]-click on Mac OS X). 3. 4. Select the desired Pad Link group from the list. Repeat the process to link each pad to a group. 7.2.
Working with Patterns (Software) Editing Patterns 1. Select the Sound to be removed from the Pad Link group, right-click and then select OFF from the Pad Link submenu ([Ctrl]-click on Mac OS X). 2. Repeat the process to remove each pad from a group. 7.2.10 Setting up a Pad as Master or Slave in a Pad Link Group By default, a Sound is automatically set to Master when added to a Pad Link group. To set the status of a Sound from Master to Slave: 1. 2.
Working with Patterns (Software) Editing Patterns 3. Click Pad Link on the menu. If there is a tick next to Master, then the Sound is set to Master. Click on Slave to assign it as Slave. 4. Repeat the process to set each Sound to Slave. 7.2.11 Rendering Audio from Patterns using Drag and Drop The Audio Drag and Drop function allows you to export audio from selected Patterns onto your desktop or into your host software by simply dragging the respective Group onto the target location or application.
Working with Patterns (Software) Editing Patterns 3. Click the Arrow on the left in the Header of the Pattern Editor. A drop-down menu will open. Choose Audio from the Pattern Drag mode submenu: 4. Click and hold the Dragger Icon in the Header of the Pattern Editor. A pop-up window will inform you about the rendering status. 5. As soon as rendering is finished, the Dragger Icon will display the name of the audio file you are about to drag: 6.
Working with Patterns (Software) Editing Patterns 7.2.12 Rendering MIDI from Patterns using Drag and Drop The MIDI drag-and-drop function allows you to export MIDI files from selected Patterns onto your desktop or into your host software by simply dragging the respective Group onto the Desktop or into a MIDI channel of your host software. This is useful if you want to edit them in another application.
Working with Patterns (Software) Editing Patterns 3. Click and hold the Dragger Icon in the Header of the Pattern Editor. The Dragger will display the name of the MIDI file you are about to drag: → You can now drag the exported MIDI file to your desktop or into a MIDI channel of your host application. Alternatively you can also use the Export MIDI… entry from the drop-down menu: Choosing Export MIDI… from the drop-down menu. For more information on MIDI Batch Setup see section ↑4.
The Effects Overview Dynamics 8 The Effects Overview MASCHINE provides a healthy selection of more than 20 different effects (FX) 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.
The Effects Overview Dynamics Screen Elements Description Depth Thresh This value determines the threshold at which the Compressor starts to work. Amount The amount of the Compressor effect, sometimes called Ratio in typical applications. Knee This parameter defines how the Compressor starts to work: with a low setting, the transition into compression is soft, whereas with a high setting, the Compressor abruptly starts to work once the threshold is reached.
The Effects Overview Dynamics The Gate on the software. Screen Element Description Depth 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. Time ATTACK Use ATTACK to adjust how fast the Gate reacts to the incoming signal: the more you dial it to the right, the slower it will react, resulting in a softer transition between the gated and the not gated parts of the signal.
The Effects Overview Dynamics 8.1.3 Limiter The Limiter does two things: firstly it ensures that the signal level stays below 0db, 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 Module slot. Note that the Limiter introduces a small latency. The Limiter on the software. Screen Element Description Depth Thrs This value determines the threshold where the Limiter kicks in.
The Effects Overview Filtering The Maximizer on the software. Screen Element Description Depth AMOUNT This parameter is used to adjust the amount of the Maximizer effect. 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, (causing the maximizing algorithm to be applied twice). Hardware The Maximizer on the hardware. 8.2 Filtering 8.2.
The Effects Overview Filtering Page 1 of the EQ on the software. Screen Element Description Page 1 Low Band Freq Frequency selector for the Low Band. Ranges from 20 Hz to 8 kHz. Gain Gain control for the Low Band. Mid Band 1 Freq Frequency selector for the Mid Band 1. Ranges from 40 Hz to 16 kHz. Gain Gain control for the Mid Band 1. Mid Band 2 Freq Frequency selector for the Mid Band 2. Ranges from 40 Hz to 16 kHz. Gain Gain control for the Mid Band 2.
The Effects Overview Filtering Software Page 2 of the EQ on the software. Screen Element Description Page 2 Mid Band 1 Width Bandwidth control for Mid Band 1. Mid Band 2 Width Bandwidth control for Mid Band 2. Output Gain Gain control for the filter altogether. Hardware Page 2 of the EQ on the hardware. 8.2.2 Filter Filter with selectable characteristics that can be modulated via LFO or envelope follower.
The Effects Overview Filtering The Filter on the software. Screen Element Description Type Mode Here you can select between four different filter-types: Notch, HP (highpass), BP (bandpass), and LP (lowpass). Depending on the filter type, the following parameters vary as indicated. Freq Cut Cut stands for Cutoff Frequency and is available with all filter-types. Res Res controls the amount of Resonance - the amount of amplification around the cutoff frequency.
The Effects Overview Modulation Screen Element Description LFO Speed Defines the speed of the modulation in Hz (Hertz) ranging from 0.03 Hz up to 16 Hz. Shape Change the shape of the LFO waveform here. Hardware The Filter on the hardware. 8.3 Modulation 8.3.1 Chorus The Chorus is useful to “thicken” signals and enhance or add stereo content.
The Effects Overview Modulation Screen Element Description Modulation Rate The Rate knob defines how fast the phase (and thus the perceived pitch) of the signal is being modulated. Amount The amount of the Chorus effect. Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Chorus on the hardware. 8.3.2 Flanger Classic Flanger with LFO and Envelope Follower modulators.
The Effects Overview Modulation Screen Element Description Modulation Amount The amount of the Flanger effect. Source Here you can select the modulation source of the Flanger: available options are Envelope, LFO Sync and LFO Speed. Depending on your selection, the parameter to the right will change: LFO Speed The Speed of the LFO in a range from 0.03 Hz up to 8 Hz. LFO Sync Speed Defines the speed of the modulation in musical values from 16/1 (once every 16 bars) up to 1/16 note.
The Effects Overview Modulation FM on the software. Screen Element Description Freq 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.
The Effects Overview Modulation The Frequency Shifter on the software. Screen Element Description Frequency Coarse This is used to define the basic frequency of the Freq Shifter. Fine Finetune the Frequency here. Feedback Amount Adjust the amount of Feedback introduced in the Frequency Shifter and increases the intensity of the effect. Stereo This parameter widens the stereo field of the effect. Output Invert Invert the settings of the Frequency Shifter here.
The Effects Overview Modulation The Phaser on the software. Screen Element Description Freq Center This defines the center frequency of the Phaser. Modulation Amount The amount of modulation. Source Here you can select the modulation source of the Phaser: available options are Envelope, LFO Sync and LFO. Depending on your selection, the parameter to the right will change: Envelope Shape Modulate the shape of the envelope. LFO Speed The speed of the LFO in a range from 0.03 Hz up to 8 Hz.
The Effects Overview Spatial and Reverb Hardware The Phaser on the hardware. 8.4 Spatial and Reverb 8.4.1 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 “Greenhouse” – Project from the Library, you can hear how it creates deep soundscapes in the Group named “FX”. The Ice reverb on the software.
The Effects Overview Spatial and Reverb Screen Element Description Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Ice reverb on the hardware. 8.4.2 Metaverb Like the Reverb, the Metaverb adds spacial room information. However, in contrast to the Reverb it has a much more “synthetic” sound, which is particularly suited for melodic content. The Metaverb on the software.
The Effects Overview Spatial and Reverb Screen Element Description Pan This pans the dry signal. This is useful because the dry signal can not be panned after the FX without panning the reverb itself, which is unnatural. Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Metaverb on the hardware. 8.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms.
The Effects Overview Spatial and Reverb Screen Element Description Room 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 Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Reflex reverb on the hardware. 8.4.
The Effects Overview Spatial and Reverb Screen Element Description Room Room This allows you to choose one of four basic characteristics of the Reverb: Shatter, Guitar, Bright and General. Size Adjust the size of the virtual room here. Eq Low Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. Position Pan This pans the dry signal.
The Effects Overview Delay 8.5 Delay 8.5.1 Beat Delay The Beat Delay is a delay that is specialized for creating delays that are synced to the tempo. If you wonder how this sounds, load up the “Deeper” – Project from the Library: the Beat Delay is used on all Groups here (except for the Bass) and offers a lot of rhythmic sonic possibilities. The Beat Delay on the software. Screen Element Description Delay Time The Time parameter defines the delay in musical values from 1/32 to 16/16.
The Effects Overview Delay Screen Element Description Stereo This parameter widens the stereo field of the effect. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Beat Delay on the hardware. 8.5.2 Grain Delay By chopping the input into small “grains,” the Grain Delay is useful for creating ambient textures. Increase Size, Space and Density to quickly transform any sound into an evolving ambient texture.
The Effects Overview Delay Screen Element Description Rev This button if activated results in reverse playback of the grain. Cloud Space Determines the spacing between the grain clouds: the higher the value, the bigger the space between the clouds. Density Creates a more “dense” cloud: higher values create feedback-like effects. Mod The amount of modulation introduced to the grain cloud. Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
The Effects Overview Delay Screen Element Description Master ON Enables the effect. Every time this button is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th step. Time Stretch Defines the timestretch amount. Set to 50% for half speed. Loop Sets a loop length, in 1/16th steps.
The Effects Overview Delay The Resochord on the software. Screen Element Description Pitch 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 1 frequency and can be spread for an intense chorus-like effect. Depending on your selection the other parameters in the Pitch area will change. Spread Spread is only available if String mode is selected.
The Effects Overview Distortion Hardware The Resochord on the hardware. 8.6 Distortion 8.6.1 Distortion Combining overdrive, feedback and modulation, the Distortion produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates. The Distortion on the software. Screen Element Description Drive Amount Determines the basic amount of distortion.
The Effects Overview Distortion Screen Element Description Tone Mod Modulation introduced in the Feedback. Output 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. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Hardware The Distortion on the hardware. 8.6.
The Effects Overview Distortion Screen Element Description Resample SR SR stands for Sample Rate and ranges from CD-quality (44.1 kHz) to 0.1 kHz which results in a hissy crackle. Smooth Smooth reduces the aliasing introduced by the Lofi effect. Stereo This parameter widens the stereo field of the effect. Bitcrush Bits Introduces a distortion based on bit reduction. Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
The Effects Overview Distortion Screen Element Description Compress Amount This parameter lets you adjust the amount of compression performed on the audio signal. Drive Amount The amount of the distortion introduced by the Saturator. Contour The Contour control determines how closely it responds to the input volume. Higher values create a more distorted sound. Hardware The Saturator on the hardware.
Using FX Applying Effects to a Sound 9 Using FX At each Project level (Sound, Group and Master) it is possible to add effects using Modules. Each Sound, Group and Master slot has four Modules. In each Module you can load an internal MASCHINE effect or VST/AU plug-in effect. Overview of applying effects using Module slots. 9.1 Applying Effects to a Sound There are four Module slots available at the Sound level.
Using FX Applying Effects to a Sound If you plug one of the internal MASCHINE effects or a plug-in effect to Module slot 1 of a Sound, you will find this effect as a bussing point in the Output menu of other Sound slot's Main control section (in the Control area). You can also route MIDI events to the effects in Module slot 1. For information on loading a Plug-in Instrument to a Sound slot please read ↑4.2.6, Page 6: Velocity Destination and Modwheel Destination. Hardware 1. 2. 3. 4.
Using FX Applying Effects to a Sound Software 1. Click on the SOUND tab to select the Sound you want to apply an effect to. The actual Sound that you assign the effect to is always the one in focus; in the example underneath it’s Noise FrostShock. 2.
Using FX Applying Effects to a Group 3. As an example, let’s choose the Reverb effect. After selecting it with the mouse, you will find the parameters displayed in the Control area of Module 2: 4. Now you can try out some of the parameters: turn the Size knob for a bigger Reverb or adjust the stereo width by using the Stereo knob. If you have VST/AU effect plug-ins installed you may also load them from the effects menu by selecting Plug-ins from the list. 9.
Using FX Applying Effects to a Group 5. 6. 7. On the left display, use Knob 1 to set the TYPE to INTERNAL for MASCHINE FX or PLUG-IN for VST/AU plug-ins. The right display now shows the list of the available effects. If you want to load a VST/AU plug-in effect select PLUG-IN. You can browse through them by either turning Knob 5. When you’ve found an effect you want to apply, press Button 8 to load it. 8. 9. Switch back to Control mode by pressing the CONTROL button.
Using FX Applying Effects to the Master 3. Since our Group is mainly for drums, let’s apply some compression by adding the Compressor to Module 1: 4. Play around with the parameters of the Compressor to get used to it! If you have VST/AU effect plug-ins installed you may also load them from the effects menu by selecting Plug-ins from the list. If you created a nice FX setting, you can put it to further use by saving it as an FX Preset. Please read ↑9.8, Saving FX Presets for more details.
Using FX Applying Effects to the Master 3. 5. To select an effect for Module 1, press SHIFT + BROWSE. The right display now shows the list of the available effects. On the left display, use Knob 1 to set the TYPE to INTERNAL for MASCHINE FX or PLUG-IN for VST/AU plug-ins. The right display now shows the list of the available effects. If you want to load a VST/AU plug-in effect select PLUG-IN. You can browse through them by either turning Knob 5, or by using buttons 5 and 6. 6. 7. 8.
Using FX Applying Effects to the Master 3. Select Plug-ins from the menu to get a list of all available effects (FX) plug-ins: 4. Choose an effect to apply to this Module slot. After selecting it with the mouse, the plugin will be loaded, and you will find its parameters displayed on the parameter area of the Module. Now you can try out the parameters of the effect plug-in. 5.
Using FX Bypassing Effects 6. Choose different Parameter pages via the Page menu by clicking the triangle on the top left side of the parameter area. If you created a nice FX setting, you can put it to further use by saving it as an FX Preset. Please read ↑9.8, Saving FX Presets for more details. 9.
Using FX Bypassing Effects Hardware 1. 2. 3. Depending on the tab you used the effect on, press either Button 1 (for the Master), Button 2 (for a Group + the Group button) or Button 3 (for a Sound + the Pad containing the Sound). Now the right display shows the Modules containing effects. To mute one of the effects, press SHIFT followed by either Button 5 (for Module 1), Button 6 (for Module 2), Button 7 (for Module 3) or Button 8 (for Module 4).
Using FX Automating Effects and Sampler Parameters 9.5 Automating Effects and Sampler Parameters One of the really cool features of MASCHINE is the ability to easily automate parameters from the effect Modules and Sampler Modules. Hardware ► To automate a parameter with the MASCHINE hardware controller, first make sure the song is playing, then simply turn one of the 8 Knobs while holding down the AUTO WRITE button. → Your automation gets recorded now.
Using FX Applying FX to an External Instrument ► To edit the automation, drag the automation points in the Automation Lane. 9.6 Applying FX to an External Instrument Please make sure that you have connected an external audio signal source to your audio interface and that the inputs of the audio interface are activated.
Using FX Applying FX to an External Instrument MASCHINE's Inputs configuration in the Audio and MIDI Settings dialog. → Audio signals coming from external sources will now be routed to MASCHINE’s effects section! Hardware 1. 2. 3. 4. 5. First choose an empty Group by selecting it with one of the GROUP buttons. Select an empty Sound slot by pressing Button 4 and then one of the pads, let’s say pad 1. Press Button 5 to select SRC (source). After that press SHIFT + BROWSE.
Using FX Applying FX to an External Instrument 6. 7. 8. You now can select your external source by turning Knob 2. Then select a module slot by pressing Button 6. Press SHIFT + BROWSE: now you see the list of the available effects. Choose an effect and load it using Button 8. Now the external audio will be processed by the effect. Software 1. 2. 3. Choose an empty Group by selecting it in the Arranger, then choose one of the Sound slots by clicking on it. Select the SOUND tab and then click on Module 1.
Using FX Recording FX Automation → Now the external audio will be processed by the effect! 9.7 Recording FX Automation Automating FX is performed in the same way as automating one of the Sampler parameters (see chapter ↑7, Working with Patterns (Software)). If you don't know exactly what you can do with a certain effect, automating it using the MASCHINE hardware controller is a good way to find out! 9.
Using FX Saving FX Presets The drop-down menu of the FX Module with the Save As… entry. This function is only available in the MASCHINE software.
Using FX Creating a Send Effect 9.9 Creating a Send Effect Sometimes you may want to have a classic send effect, for example a reverb which can be shared by multiple sound sources. The process is similar to applying FX to an external sound source as described above. This is how to set it up. Hardware 1. 2. 3. 4. Let’s send the Snare of the 909 Kit to a Reverb send effect. Load the 909 Kit by doubleclicking it in the Browser and create a basic pattern.
Using FX Creating a Send Effect Software 1. Select the first Sound slot of an empty Group. Load the Reverb into Module 2 of the Sound slot. 2. On Module 1, select Input and leave the Source at Internal: 3.
Using FX Creating a Multi Effect 4. You can see the two Aux sends, Aux 1 and Aux 2. In the drop-down menu of Aux 1, select B: Input 1 to send the Snare 909 1 Sound to the Reverb in Sound 1: → When you press pad 2 (which contains the Snare 909) you will hear, the Snare is already being sent to the Reverb effect. By turning the Aux 1 Level, you can adjust the amount of signal that gets sent into the Reverb. Repeat the process to add more sounds to the effect send or create another effect send using Aux 2.
Using FX Creating a Multi Effect The Multi FX of the Library in the Browser. Example: The Multi FX Dual LFO Filtered Delays The multi FX Dual LFO Filtered Delays consists of a combination of the Beat Delay with the Filter. Try out some other multi FX from the Library to get some ideas on how to set up your own multi FX! Your own presets can also include any combination of VST/AU plug-in effects you have installed for quick and easy recall from the User bank.
Using FX Creating a Multi Effect The multi FX Dual LFO Filtered Delays preset on the software.
Creating a Song using Scenes Selecting a Scene 10 Creating a Song using Scenes Creating a Song on MASCHINE is easy and straightforward. The basic concept is this: a song is composed of Clips, each of which represents a Pattern from a given Group. A combination of several Clips stacked vertically is called a Scene, of which a Project can have up to 64. Scenes are useful as different parts of a Song that you can trigger independently — such as a beginning, a chorus or a break.
Creating a Song using Scenes Creating and deleting a Clip in the Arranger 2. Hit one of the pads to select a Scene. To get to Scenes 17 – 64, use Buttons 6, 7 and 8. The Scene will then be changed according to the Scene Sync settings (described in ↑10.3, Scene Sync). Software ► Select the Scene by clicking on the Scene slot in the Arranger. It will now be highlighted in white: Selecting Scene 1. 10.
Creating a Song using Scenes Creating and deleting a Clip in the Arranger Hardware 1. 2. 3. Enter Pattern mode by pressing PATTERN and lock it by pressing Button 1 at the same time. Choose your Pattern by selecting it with the pads. To select the Pattern Banks A-D press Buttons 5 (Bank A) , 6 (Bank B), 7 (Bank C) or 8 ( Bank D). The right display gives you an overview of the available Patterns with the selected Pattern highlighted.
Creating a Song using Scenes Scene Sync A Newly created Clip in Scene 1. ► To delete a Clip, right-click (on Mac OS X: [Ctrl]-click) it. Double click on an empty Scene slot will create a new empty Pattern. 10.3 Scene Sync Scene Sync allows you to quantize the Scene transitions. For example, you might not want a newly selected Scene to fire off immediately—you might want it to wait until the next bar line. The available quantization values are 1/1 (= one bar), ½, ¼, 1/8, Scene and Off.
Creating a Song using Scenes Scene Sync Display Element Description RETRIG If RETRIG is enabled (by turning Knob 1), the next Scene you select will be forced to play from the start. This is useful if you always want your Scenes to play from the beginning regardless of what’s happening elsewhere in the music. If RETRIG is set to OFF, the next Scene you choose will be played according to the Scene Sync selected and at the current position of the previously selected Scene: i.e.
Creating a Song using Scenes Inserting and Deleting Scenes Software The Scene Position Marker underneath the Scene slot. 10.4 Inserting and Deleting Scenes Hardware 1. 2. Enter Scene mode and lock it (press SCENE and Button 1 at the same time). Using Button 3 (DUPL) a duplicate of the selected Scene will be inserted. To remove the Scene, press Button 4 (REMOVE). Scene view on the hardware.
Creating a Song using Scenes Copy and Paste Scenes The Scene menu in the software. 10.5 Copy and Paste Scenes Hardware ► To copy a Scene to another Scene slot, hold DUPLICATE and press on the pad containing the Scene you want to copy and then press the pad where you want to copy the Scene to. The copied scene replaces the scene in the target slot. Software 1. 2. 3. Right-click ([Ctrl]-click on Mac OS X) on Scene slots opens the Scene menu. Select Copy from the Scene menu of the Scene you want to copy.
Creating a Song using Scenes Using the Loop Mode to combine Scenes 2. Select the starting Scene by pressing the corresponding pad. 3. While holding the first pad, press the pad corresponding to the end Scene. → Now you will hear the first Scene and the second Scene in sequence. Any Scene in between those two will be integrated in the Loop. The looped Scenes are brightly lit. To disable the Loop again, just select another Scene by pressing a pad in Scene mode.
Creating a Song using Scenes Triggering Scenes via MIDI 10.7 Triggering Scenes via MIDI The Scene MIDI Settings let you trigger and change Scenes using MIDI notes or MIDI Program Change messages, sent by your host to the MASCHINE plug-in or from any other MIDI device to the MASCHINE in standalone mode. To access Scene MIDI Settings: 1. Click on the arrow in the Header of the Arranger, next to the Project’s name: 2.
Creating a Song using Scenes Triggering Scenes via MIDI Screen Element Description Status Options Enable Click this checkbox to enable the Scene MIDI Settings. Input Options MIDI Note If this radio button is checked, Scenes will be controlled by incoming MIDI notes. Channel From this drop-down menu, select the MIDI Channel the Scenes should receive MIDI notes from. Root Note This determines the MIDI note which triggers the first Scene.
Sampling and Sample Mapping Controlling Sampling from the Hardware 11 Sampling and Sample Mapping MASCHINE allows you to record internal or external audio signals using your audio interface without having to stop the sequencer. This is a useful feature if you want to record your own Samples, or rearrange Loops that you have created yourself using MASCHINE. The slicing feature (hardware: ↑11.1.2, Editing a Sample (Hardware), software:↑11.1.
Sampling and Sample Mapping Controlling Sampling from the Hardware The Record page on the hardware displays. Display Element Description SOURCE You can select the Source by using Knob 1: it can be either set to Extern for audio signals connected to your audio interface, or Intern for audio signals from MASCHINE itself (either from another Group or from the Master Output). INPUT Using Knob 2 you can choose between the available Inputs.
Sampling and Sample Mapping Controlling Sampling from the Hardware Display Element Description PREV Hitting Button 7 allows you to select the previous Sample in case you have recorded more than one in this Sound slot. Note: to play the Sample, just hit the pad representing the Sound slot you used for sampling. NEXT Hitting Button 8 allows you to select the next Sample in case you have recorded more than one in this Sound slot.
Sampling and Sample Mapping Controlling Sampling from the Hardware Page 2 Setting a Loop within a Sample on the hardware. Display Element Description LOOP MODE Here you can choose to either disable or enable Loop mode by dialing Knob 1. If enabled, you can see the Loop highlighted on the right display (as pictured above). The Loop will be repeated as long as the note is triggered, which can be useful to loop either a whole Sample or part of it to simulate a longer tone.
Sampling and Sample Mapping Controlling Sampling from the Hardware Audio Editing Audio editing allows you to process your Samples. Press Button 5 to enter audio editing: Editing on the hardware. Display Element Description RANGE Using Knob 1 and Knob 2, you can select the part of the Sample that will be processed. To process the whole Sample, make sure you set the start and end point on page 1 accordingly. START Use Knob 1 to define the start point of the Sample to be processed.
Sampling and Sample Mapping Controlling Sampling from the Hardware Display Element Description COPY This copies the selected Sample. PASTE This pastes the selected Sample. DUPLICATE This duplicates the selected Sample. 11.1.3 Slicing a Sample (Hardware) Hit SAMPLING and press Button 3 to enter the SLICE tab. The right display will show you the waveform of the Sample with the Slices pictured as vertical lines. Depending on how you set up the Slice settings, the Slice Markers will move.
Sampling and Sample Mapping Controlling Sampling from the Hardware Display Element Description TEMPO Determines the tempo of the Sample: available options are AUTO and MANUAL. BPM Shows the BPM based on the Tempo settings above; if MANUAL is selected, you can dial in a BPM value using Knob 4; if AUTO is selected, you can choose from multiples of the Tempo calculated by MASCHINE. DETECT MODE In Detect mode, the Sample will be sliced according to its transients.
Sampling and Sample Mapping Controlling Sampling from the Hardware Display Element Description END This lets you edit the end point of a Slice using Knob 4. RESET Reset your Slice edits using Button 6. ADD Add another Slice according to the Mode settings using Button 7. REMOVE Remove the selected Slice using Button 8. After you have performed your Slice edits, confirm them by pressing Button 5 again to return to the SLICE tab.
Sampling and Sample Mapping Controlling Sampling from the Hardware To switch back to Sampling mode, press SAMPLING. Page 1: Note Settings The Mapping Editor displayed on the hardware. Display Element Description ROOT Here you can define a root key for the Zone. This defines the note that when played will cause the sample to play back at its original pitch. LOW Here you can define the lowest key of the selected Zone (Knob 2). HIGH Here you can define the highest key of the selected Zone (Knob 3).
Sampling and Sample Mapping Controlling Sampling from the Hardware Page 3: Tune, Gain and Pan Basic settings of the selected Zone displayed on the hardware. Display Element Description TUNE Tune control for the Zone (Knob 1). GAIN Volume level for the Zone (Knob 2). PAN Panorama position for the Zone (Knob 3). 11.1.
Sampling and Sample Mapping Controlling Sampling from the Hardware The EDIT tab on the software. (1) Start and End of the Sample Adjust the Start and End point by either dragging the small grey icons labeled “S” (for Start) and “E” (for End) left and right using the mouse, or by entering the Start and End points in their respective fields. (2) Loop Settings Here you can define a Loop by clicking on the Loop button.
Sampling and Sample Mapping Controlling Sampling from the Hardware (4) Sample Editor Menu Screen Element Description Truncate This causes the part of the Sample that is outside of the range to be deleted. Normalize This increases the volume of the selected Sample to the maximum possible value without inducing distortion. Reverse This reverses the Sample. Fade In This creates a Fade In to the Sample. Fade Out This creates a Fade Out of the audio file.
Sampling and Sample Mapping Controlling Sampling from the Hardware This amplitude envelope is mainly meant to allow you to get rid of clicks after slicing; you can either apply it to the whole Sample or to individual selected Slices. Screen Element Description Attack The Attack determines how quickly the Sample/Slice reaches full volume after being triggered. Decay Decay is used to adjust how fast the Sample/Slice dies down. 11.1.
Sampling and Sample Mapping Controlling Sampling from the Hardware The SLICE tab on MASCHINE software. (1) Mode and Slices Settings Screen Element Description Mode Here you can select either Split, Grid or Detect. In Split mode, the Sample will be sliced into equally spread Slices. In Grid mode, the Sample will be sliced according to musical values. In Detect mode, the Sample will be sliced according to its transients.
Sampling and Sample Mapping Controlling Sampling from the Hardware Screen Element Description In Grid mode: Choose the musical value : 4th, 8th,16th or 32nd notes. In Detect mode: Adjust the sensitivity of the transient detection here. Higher values will cause more Slices to be detected because more transients will be recognized, lower values will result in less slices. This parameter should be adjusted until all the musically significant slices are being detected in the waveform.
Sampling and Sample Mapping Controlling Sampling from the Hardware The notes representing the Slices of a Loop. Play around with the Slicing feature by removing some of these notes, quantizing or completely rearranging them! These notes represent the Slices and trigger them in order to play the Loop with correct timing and pitch. Try changing the tempo now, and you will hear that the Loop automatically adjusts to the new tempo.
Sampling and Sample Mapping Controlling Sampling from the Hardware (6) Dropdown Menu Screen Element Description Remove sample from map Allows you to remove the Sample from the Sample Map. Open containing folder Opens up the folder containing the Sample, allowing you quick access to the original file. Save As Allows you to save the Sample. (7) Timeline Shows the length of the Sample in seconds.
Sampling and Sample Mapping Controlling Sampling from the Hardware To copy a Slice to another Sound, simply click and drag it: Dragging an individual Slice to another Sound. (9) Zoom Tool Use this to zoom in and out of the Sample by click-dragging up (zoom in) and down (zoom out). You can also use the timeline (see above). (10) Sample Pre-Listen Button Click the Pre-Listen button (designated by the loudspeaker icon) to listen to the loaded Sample. 11.1.
Sampling and Sample Mapping Controlling Sampling from the Hardware 1. Select an empty Sound slot, then click the Sampling view switch (designated by the waveform icon) and enter the MAP tab by clicking on it: 2. To add a new Sample, select one from the Browser and drag it into the mapping area. A Zone will be created; you can drag the left and the right border of the Zone with your mouse, thereby extending or minimizing it and defining a note range.
Sampling and Sample Mapping Controlling Sampling from the Hardware the Zone is selected by clicking on it first though. To listen to the Sample of a selected Zone click on the speaker icon left to its name. You can drag several Samples to the Map at once by pressing [Ctrl] on your computer keyboard and clicking on Samples in the Browser. Drag the Sample to the Map and place them in the desired area. To select each Sample within the Map press [Ctrl] on your computer keyboard and click each Sample.
Sampling and Sample Mapping Controlling Sampling from the Hardware Screen Element Description High Note Set the highest note of the Zone by entering it here. Alternatively, you can drag the right border of the Zone to the highest note. Low Vel This defines the lowest velocity for the Zone's velocity range. Set it by entering the value in the text field or by dragging the lower border of the Zone. High Vel This defines the highest velocity for the Zone's velocity range.
The Master Section The Master Parameter Pages 12 The Master Section The Master is the place where all signals from the Groups are being mixed together and their panorama position is set. Just like the Groups and Sounds, the Master can host up to four Insert effects. 12.1 The Master Parameter Pages 12.1.1 Mix Page 1: Master Mixer Hardware To access the Master Mixer Level settings: 1. 2. 3. Press CONTROL to enter Control mode. Press Button 1 to select MASTER. Press Button 5 to select MIX. 4.
The Master Section The Master Parameter Pages 3. Select the Level from the drop-down Page Selection menu. Level Level knobs A-H 12.1.2 These knobs allow you to adjust the volume level of each Group. If you adjusted it already in the Group OUT tab, this will be represented here. Mix Page 2: Group Panning Hardware To access the Master Mixer Pan settings: 1. 2. 3. 4. Press Press Press Press CONTROL to enter Control mode. Button 1 to select MASTER. Button 5 to select MIX.
The Master Section The Master Parameter Pages The Group Panning on the software. Pan Pan knobs A-H 12.1.3 These knobs allow you to adjust the panorama position of each Group. If you adjusted it already in the Group OUT tab, this will be represented here. Groove Swing Hardware To access the Groove Swing settings: 1. 2. 3. 4. Press CONTROL to enter Control mode. Press Button 1 to select MASTER. Press Button 6 to select GRV. Turn knob 1 to change the SWING value.
The Master Section The Master Parameter Pages 2. Click GRV in the Parameter Page buttons. The Master Swing setting on the software. 12.1.4 The Master Output Tab (OUT) Hardware To access the Output settings: 1. 2. 3. 4. 5. 6. Press CONTROL to enter Control mode. Press Button 1 to select MASTER. Press Button 8 to select OUT. Turn Knob 1 to change the Master OUTPUT channels. Turn Knob 2 to change the Master LEVEL output. Turn Knob 3 to change the PAN of the output signal.
The Master Section The Master Parameter Pages 3. Use the drop-down menu to select a channel for the Master output. Screen Element Description Main Output Here you can choose to which output you would like to send the Master Signal: available options are Out 1-16. On the software, click on the label to open the drop-down menu allowing you to choose an output. Level This allows you to adjust the volume level of the Master output.
Exporting Audio Export Audio 13 Exporting Audio In some cases you might want to export your Groups, Sounds or complete Songs to files in order to be able to edit them further in other applications or burn a CD. The format of the exported audio files is WAV. The Export function is only available in the software! 13.
Exporting Audio Export Audio The Export Audio dialog. Screen Element Description Source Region Here you can choose a region you want to export. Available options are All Scenes (all Scenes of the Project will be exported) and Loop Range (only the Scenes in the Scene Loop will be exported).
Exporting Audio Save Project with Samples Screen Element Description Master: The Master Signal containing all Groups and Sounds and their FX in one audio file. Groups: All selected Groups will be exported to individual audio files. By clicking on the checkbox next to the Group names in the box below you can include and exclude Groups. Sounds: All selected Sounds from the Group currently in focus will be exported to individual audio files.
Exporting Audio Save Project with Samples ► Choose Save Project with Samples… from the File menu: Choosing Save Project with Samples… from the File menu. You will be presented with the Save Project with Samples dialog: The Save Project with Samples dialog. Screen Element Description Project You can choose a folder to save the files to clicking on the folder icon. Delete Unused Files This checkbox allows you to delete unused files, thereby minimizing the amount of audio data.
Appendix: Tips for playing Live Preparations 14 Appendix: Tips for playing Live Since MASCHINE is a very hands-on tool for producing music as well as for performing live, we figured we would gather some tips for you to get you started playing live. If you are used to playing live, you may not need them, but maybe you will find some new ideas to integrate in your set. 14.1 Preparations 14.1.
Appendix: Tips for playing Live Preparations 14.1.4 Name your Groups, Sounds and Scenes Naming your Groups, Sounds and Scenes gives you a better overview of exactly what you are doing, especially if you focus on playing with the MASCHINE hardware controller. It might not be something that is very interesting, but it certainly pays off in a hectic live situation to have a quick overview. 14.1.
Appendix: Tips for playing Live Basic Techniques 14.2 Basic Techniques 14.2.1 Use Mute & Solo Mute and Solo are a good way to build up a live set especially on the MASCHINE hardware controller as you can mute and solo Groups and Sounds at the same time. By locking the Mute and Solo function, you have both hands free to mute or solo Sounds and Groups. Since pressing SOLO mutes all sounds except one, the MUTE button can be used to “release” sounds that have been muted.
Appendix: Tips for playing Live Basic Techniques 14.2.5 Set up your own Multi FX Groups and automate them You can setup multi FX Groups containing all the effects you want to use in a live set. You can find several multi FX in the Library (check the Browser Bank for multi FX) to give you an idea of what works for you. To be able to quickly change and modulate the FX settings, you can set automation for the multi FX as Patterns from within the MASCHINE software.
Index Index A editing in the software [184] Amplitude Envelope [69] recording [183] Controls [66] Automation (Hardware) recording [118] Arranger recording in Step Sequencer [119] minimizing [20] Arrow symbol [186] Automation (Software) drawing with mouse [132] Audio recording [131] exporting [230] rendering from Patterns [141] Audio and MIDI Settings Audio [36] Audio driver selecting [37] Audio inputs selecting [39] Audio outputs selecting [39] Audio Source Internal [190] Audition Contro
Index C E Clip [195] Effects [145] [176] Compressor [178] applying to a Sound [175] CONTROL button [177] applying to external instruments [184] Control Mode [176] [189] bypassing [181] Control Mode Button [174] [179] [185] [189] creating multi effect [191] Controller [235] Delay FX [164] CPU power [234] Distortion FX [169] Crossfade Filter FX [151] setting [213] Introduction [18] loading [174] D DISK selecting [45] DISK button [44] Distortion avoiding [235] digital [170] Drum program
Index F Grain Stretch [166] File Type Ice [159] selecting in Browser [46] Limiter [148] File Type Selector [45] [46] Lofi [170] Filter Maximizer [148] selecting mode [68] Phaser [157] types [68] Reflex [161] Frequencies Resochord [167] boosting [149] Reverb [162] cutting [149] Saturator [171] Frequency Shifter [156] FX [145] Beat Delay [164] bypass [181] Chorus [153] Compressor [145] creating send effect [189] Distortion [169] EQ [149] Filter [151] Flanger [154] FM [155] Frequency Shift
Index G H GRID Button [119] Hardware settings Grids (Software) [134] Group [83] [176] loading [189] loading without Patterns [105] Multieffect [237] muting [85] Naming [235] accessing from MASCHINE Controller [36] HP2 [68] I In-Place Auditioning activating [55] Input [186] [189] [190] External [186] soloing [84] Group button [182] Group Button [83] [176] selecting [185] INPUT Module [186] Group buttons [185] L Group icon [84] Latency Group Out Parameters [99] Group Tab [176] [177] Groups
Index M MIDI Sync [235] Macro Controls Missing samples locating [49] assigning parameters to [95] MAP tab [211] [222] Modes Stand-alone and Plug-in [24] Mapping Samples [221] Master [178] [182] Introduction [17] Modulation Envelope [69] Modulation targets defining [69] using Effects [235] Master Effects applying [178] Module [174] [186] Modules Introduction [18] loading [179] Master FX [178] Multi Effect creating [191] Master Output [205] Master Section [225] Output [229] Multieffect [237]
Index O P OUT [77] Pad icon [83] [84] own Samples [50] Pads recording [113] Paint Mode switching to [129] Parameter page hiding [20] navigating [22] Pattern copying and pasting [126] resetting [127] Pattern Editor [124] [125] Pattern Length changing [237] Pattern Length Grid [119] Pattern Mode [196] locking [196] Patterns Introduction [17] Patterns (Hardware) adjusting length [111] creating [110] doubling [110] duplicating [111] MASCHINE - Manual - 243
Index editing [119] [121] opening [25] removing [111] User Paths [30] selecting [110] Patterns (Software) Pre-Listening [55] Projects adjusting length [136] comparing [130] editing [128] saving [127] Introduction [16] Q Quantization (Hardware) quantizing after recording [120] Piano Roll [117] [218] Piano Roll (Hardware) [117] Piano Roll (Software) [130] Pinning a mode [23] Pitch Groups [93] quantizing while playing [120] Quantization (Software) [137] Quick Browse [54] R Recording automation [1
Index S selecting [194] Sample synchronizing Scenes [197] importing into Library [52] Sample Rate SCENE Button [194] [200] Scene Column [196] reducing [170] Scene MIDI Settings [202] selecting [38] Scene mode [199] Sampler Module [183] Scene Mode [200] Sampler Parameters Scenes in the Output Tab [77] Introduction [17] Sampling [204] Search [45] Sampling (Hardware) [204] Send Effects editing a Sample [206] loading [189] mapping a Sample [211] Send MIDI Clock [41] recording a Sample
Index Introduction [16] [58] Step Sequencer (Hardware) [114] muting and soloing [82] Stereo Width [176] resetting [81] Swing [94] saving [79] Sync to External MIDI Clock [41] Sound slot [185] Sound Slot [189] Sound Source [189] Sound Tab [174] [175] [186] soundcard [235] Sounds Amplitude Envelope [65] FX [67] Pitch / Gate [65] Voice Settings [63] Source [185] [186] [205] External [205] Internal [205] selecting [59] Source Tab Sampler Parameters [61] SRC [61] Step Grid (Hardware) [119] changing q
Index U V Undo [23] Velocity fixed [111] View switching [18] Volume [172] MASCHINE - Manual - 247
