REFERENCE MANUAL
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 1 Introduction..................................................................................................................... 13 1.1 Welcome to MASCHINE!.......................................................................................... 13 1.2 About this Manual.................................................................................................. 14 1.3 Other Documentation.........................................................................................
2 3 Basic Concepts................................................................................................................30 2.1 Names and concepts you should know....................................................................30 2.2 Common Operations...............................................................................................32 2.2.1 Switching Views............................................................................... 32 2.2.
4 3.2 Adding your own Samples.......................................................................................56 3.2.1 Importing a Sample into the Library................................................... 58 3.2.2 Tagging your Samples, Sounds, Groups, FX Presets, Patterns and Projects.59 3.3 Quick Browse.........................................................................................................60 3.3.1 Using Quick Browse................................................................
5 6 Creating Groups...............................................................................................................90 5.1 The Group Source Tab Parameters..........................................................................90 5.1.1 Page 1: Voice Settings...................................................................... 90 5.1.2 Page 2: Pitch & Swing...................................................................... 91 5.1.3 Page 3: Macro Controls.................................
6.2.2 6.2.3 6.2.4 6.2.5 6.2.6 7 8 Erase/Clear.................................................................................... 116 Copy/Paste..................................................................................... 116 Nudge........................................................................................... 117 Compare/Split................................................................................ 117 Transpose ...................................................................
8.3 Modulation.......................................................................................................... 141 8.3.1 Chorus.......................................................................................... 141 8.3.2 Flanger..........................................................................................142 8.3.3 FM...............................................................................................143 8.3.4 Freq Shifter............................................
Creating a Song using Scenes........................................................................................ 175 10.1 Selecting a Scene................................................................................................ 175 10.2 Creating and deleting a Clip in the Arranger.......................................................... 176 10.3 Scene Sync......................................................................................................... 178 10.
14 Appendix A: MASCHINE Controller Quick Reference Chart................................................ 216 14.1 Basic Sequencer Controls..................................................................................... 216 14.2 Loading and Saving.............................................................................................. 217 14.3 Scene Operations . .............................................................................................. 217 14.4 Pattern Operations ...............
16.1.7 Improvise...................................................................................... 234 16.2 Basic Techniques.................................................................................................235 16.2.1 Use Mute & Solo........................................................................... 235 16.2.2 Use Scene Mode and Scene Sync.................................................... 235 16.2.3 Create variations of your drums in the Step Sequencer........................
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 Controller, united with the advanced editing features of the MASCHINE software.
1.2 About this Manual This section introduces you to the symbols and text formatting used throughout this manual. Special Paragraphs The manual uses distinctive paragraphs to point out special facts and to warn of potential dangers. The icons included in the paragraphs let you see what kind of information is provided: ! % The exclamation mark stands for additional instructions and hints. Read carefully whenever you see this symbol. The light bulb icon introduces useful extra information.
1.3 Other Documentation This is MASCHINE’s Reference Manual covering all the features and aspects of the MASCHINE Hardware and the MASCHINE Software in detail. If you would like to quickly get going without getting too deep into the specifics, we recommend you read the printed Getting Started Manual included in the box, which will give you a fast overview of MASCHINE’s main features and functions. This MASCHINE Reference Manual is available via the Native Instruments Service Center application.
1.4.3 Using the unit safely Before using this unit, it is important that you thoroughly read the instructions below. This will provide you with the information needed for setting up and using your MASCHINE Controller. Warning Do not open the MASCHINE Controller or attempt to disassemble or modify any internal parts! The MASCHINE Controller does not contain any user-serviceable parts. If it appears to be malfunctioning, discontinue use immediately and have it inspected by qualified service personnel.
1.4.4 Disposal Notice Should this product become damaged beyond repair, or if you wish to dispose of it, please observe the regulations of your area and country that relate to the disposal of electronic products. 1.4.5 Specifications subject to change The information contained in this manual is believed to be correct at the time of printing or digital release.
1.5 Installing MASCHINE This chapter will guide you through the MASCHINE installation procedure step by step. The installation includes all components of MASCHINE: the MASCHINE application, the sound library and the Controller Editor application. 1.5.1 System Requirements •• Windows® 7 / Vista / XP, Pentium® / Athlon® 2 GHz, 2 GB RAM •• Mac OS®10.5, Intel® Core™ Duo 2 GHz, 2 GB RAM •• USB 2.0 Port, DVD drive, 5 GB free disk space for full installation 1.5.
7. The Setup Program will lead you through the installation procedure. Follow the onscreen instructions. 8. After the installation has been performed successfully, click Finish. 9. Now to install the MASCHINE Controller hardware driver, you need to connect the MASCHINE Controller to your computer. On Windows® Vista, the driver setup will finish automatically. On Windows® XP, the following screen should appear: 10. Select No, not this time and click Next.
7. Select the hard disk onto which you would like to install MASCHINE. Please note that you can only install MASCHINE onto hard disks which contain a Mac OS® X version matching the system requirements. Hard disks with no sufficient Mac OS® X version will be flagged with a red Stop sign and you will not be able to select them for the Installation Destination dialog. From Mac OS® X 10.5 on, this screen will be skipped automatically. 8. Click Continue. 9.
1.5.5 Connecting the MASCHINE Controller Plug the USB cable (included in the package) into the USB port on the back of the MASCHINE Controller, and connect the cable’s other end to one of the USB-ports of your computer. ! If you want to run the MASCHINE Controller on a USB-hub instead, make sure the hub has its own power supply - the MASCHINE Controller will not work on a passive (buspowered) USB hub.
1.6 MASCHINE Controller: Overview This chapter will introduce you to the MASCHINE Controller’s hardware elements. Virtually all functions are available on both interfaces and you can access them through the software as well as through the hardware. If you need to look up a certain user interface element’s name, you can return to this chapter at any time for a refresher! The MASCHINE Hardware Controller MASCHINE 1.
1 Step Mode / Instance Button 2 Control Mode / MIDI Button 3 Sampling Button 4 Browse / Modules Button 5 Page Buttons 6 Auto Write Button (F2) 7 Snap Button (F1) 8 Note Repeat / Tap Tempo Button 9 Master Encoders: Volume, Tempo and Swing 10 Group Buttons 11 Grid Button 12 Transport Buttons 13 Buttons 1-8 14 MASCHINE Displays 15 Knobs 1-8 16 Pads 17 Erase Button 18 Shift Button 19 Modifier Buttons % If you own an older Hardware Controller, some of its Buttons might have a different name.
1.7 MASCHINE Software: Overview This chapter will introduce you to the MASCHINE software’s user interface elements. As mentioned previously in the MASCHINE Controller Overview chapter, you can access virtually all of MASCHINE’s functions via the MASCHINE Controller as well as in the software.
1.7.1 The Header 1 Menu Button 2 Browser Button 3 Display Area 4 Transport Controls 5 Connect Button 6 Audio Engine Button 7 CPU Meter 8 Volume Control 9 NI Logo 1.7.2 The Arranger 1 Play Mode Controls 2 Group Slots 3 Arranger Timeline 4 Clip Area MASCHINE 1.
1.7.3 The Browser 1 Browser Mode Selector 2 File Type Selector 3 Tag Filter 4 Text Search Field 5 Search Result List 6 Tag Editor 7 Audition Controls MASCHINE 1.
1.7.4 The Control Area 1 Master Tab 2 Group Tab 3 Sound Tab 4 Source Tab 5 FX1 Tab 6 FX2 Tab 7 Output Tab 8 Quick Browse Area 9 Page Selector 10 Parameter Pages, depending on the selected Tab and Page MASCHINE 1.
1.7.5 The Pattern Editor 1 Step Editor View Switch 2 Dragger Icon 3 Step Editor 4 Piano Roll / Keyboard View Switch 5 Sampling View Switch 6 Sound Slots 7 Automation Lane 8 Automation View Switch 9 Edit Controls 10 Pattern Timeline 11 Pattern Slots 12 Pattern Length Controls MASCHINE 1.
1.7.6 The Sampling Area 1 Record Tab 2 Edit Tab 3 Slice Tab 4 Mapping Tab 5 Trim Controls 6 Sample Loop Controls 7 Zone Envelope Controls 8 Info Bar 9 Sample Timeline 10 Sample View 11 Zoom Tool 12 Start Marker 13 End Marker MASCHINE 1.
2 Basic Concepts This chapter will introduce 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. Make sure to also check out the tutorial video regarding Basic Concepts: “Overview” (to be found on the Native Instruments website http://www.nativeinstruments.com). 2.1 Names and concepts you should know We will start with a list defining the most important concepts and names.
Groups A Group contains 16 Sound Slots, each of which can hold one Sound. It can have up to two Insert FX and up to 64 Patterns assigned to it which are organized in four Banks. Refer to chapter 5, “Creating Groups” for more information on Groups. Patterns A Pattern is a sequence that plays Sounds from the current Group. A Pattern is therefore usually linked to a Group since it is a part of the Group; however you can also save it independently from the Group.
2.2 Common Operations 2.2.1 Switching Views From the Main Menu & the Plug-in Menu you can select one of four different sizes to display MASCHINE’s Software GUI: The View entry in the Main Menu (Mac OS® X depicted) The View entry in the Plug-in Menu The Fullscreen View is also available from your computer keybord via the F5 function key. 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 Controller Software ►► Click on the Browser Button (with the magnifier symbol) in the Header to show and hide the Browser. The Browser Button in the Header MASCHINE 1.
Minimizing the Arranger Hardware ►► Press and hold NAVIGATE; now press 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.
Hiding the Modulation Lane Hardware ►► Press NAVIGATE and then 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 2.2.3 Navigating Parameter Pages in the Control Area In some situations, the Control Area consist of more parameters than the displays can show at once. Examples of this are the Groups’ Output Tab and the Sounds’ Source Tab if set to Sampler.
The display of available Pages in a Group Output Tab Moreover, if there is another Page available to the left or to the right of the current Page, the corresponding Page Button will be lit on your Controller. Software On the Software you click the Page Selector to navigate through the Pages: The Page Selector in the Control Area: first Page of the Master Source Tab 2.2.
Software On the Software, use the common keyboard shortcuts for the Undo and Redo functions. For Undo, press CTRL+Z (Command+Z on Mac OS® X). For Redo, press CTRL+Y (Command + Y on Mac OS® X). 2.3 Stand-alone and Plug-in Mode You can run MASCHINE 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 is available in the VST, Audio Unit and RTAS plug-in formats.
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 MASCHINE 1.
2.4.1 Preferences – General Tab The Preferences – General Tab 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 the Project folder. MIDI MASCHINE 1.
Sync Offset Slave Depending on various 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, you may experience a lack of synchronization between MASCHINE and the external MIDI Master. To compensate for that, you can adjust this Sync Offset Slave value in milliseconds. An easy way to do that is to play a 4/4 kick drum Pattern or a Metronome sound on both MASCHINE (see chapter 6.1.
2.4.2 Preferences – Default Tab The Preferences – Defaults Tab The Defaults Tab allows you to define a few default settings that will be used for every new Project. Pattern Length Beats Here you can define the default length of the Patterns. Input Quantise This allows you to select one of the three quantise options: None (no quantization), Record (quantization only in Record mode) or Play/Rec (quantization in Play and Record Mode).
2.4.3 Preferences – User Paths Tab The Preferences – User Paths Tab The User Paths Tab shows the locations of all the Samples you have added to the Library (consult chapter 3, ”Browser,” for more information on adding your own samples). By clicking on the folder icon to the right, you can jump directly to the selected directory.
2.4.4 Preferences – Libraries Tab The Preferences – Libraries Tab RESCAN Click this button to rescan the MASCHINE Factory Library. This is useful if you have moved the Factory Library to another hard drive or to another location on the same hard drive. MASCHINE 1.
2.4.5 Preferences – Hardware Tab The Preferences – Hardware Tab The Hardware Tab enables you to customize how the Pads react to your playing, and the brightness/contrast of the Displays. 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 will register a “hit.
Adjusting the Settings from the Hardware You also have access to these settings from the Hardware. To do this, you first have to enter the MIDI Mode by pressing SHIFT + CONTROL. From this MIDI Mode, press SHIFT + Button 4 to show the Settings Display Mode. In this Display Mode, the Left Display gives you access to all of the settings described above, with the exception of the Velocity Scaling. The Knobs 1-4 allow you to adjust the Brightness, Pad Sensitivity, Contrast Left and Contrast Right, respectively.
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. Sample Latency rate The currently selected Sample Rate of your audio interface. Mac OS® X: This slider allows you to adjust the latency of your audio interface in samples.
2.5.2 Routing Tab The Routing Tab of the Audio and MIDI Settings dialog Inputs Outputs 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 dropdown menu with all the available Inputs. The choices made here will determine which Inputs can be used when sampling external sources, for example.
2.5.3 MIDI Tab The MIDI Tab of the Audio and MIDI Settings dialog (Mac OSX version pictured; entries may vary on your computer ) 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 Status column.
2.6 Connecting External MIDI Equipment To connect your external MIDI equipment, hook it up to the MASCHINE Controller’s MIDI In or MIDI Out socket on the rear panel. If you connect a MIDI keyboard to the MIDI In, you can directly play the currently selected Sound with it without having to set anything up. You can also switch Scenes remotely by sending MIDI Program Change messages to MASCHINE. More on this in chapter 10, ”Creating a Song using Scenes.” 2.6.
2.6.2 Send MIDI Clock MASCHINE can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groovebox or sequencer, or even another software sequencer. To enable Send MIDI Clock, select it from the File menu: Send MIDI Clock activated MASCHINE 1.
3 Browser The Browser is the place where you can organize and categorize all of your Samples, Sounds, Groups, Projects, FX Presets and Patterns. This is done by tagging them, which means categorizing them by using keywords. Have a look at the tutorial videos “Browser & Library Part One” and “Browser & Library Part Two” available on the Native Instruments website (http:// www.native-instruments.com) for more information.
4 Text Search Field 5 Search Result List 6 Tag Editor 7 Audition Controls 3.1.1 Browser Mode Selector The Browser Mode Selector with LIB selected On the Browser Mode Selector, you can choose whether you want to browse the Library (click Lib) or one of your hard drives (click Disk). 3.1.2 File Type Selector 1 Projects (.mprj) 2 Groups (.mgrp) 3 Sounds (.msnd) 4 Patterns (.mpat) 5 FX Presets (.mfxp) 6 Samples (.wav, .
3.1.3 Tag Filter As with the File Type selector, the Tag Filter only shows up when you have selected the Library in the Browser Mode Selector. Then it turns into the three category columns Bank, Type and Subtype. The Tag Filter with the filetype Sample selected 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.
3.1.4 Text Search field In the Text Search Field you can enter your search query. The search will be performed on the file paths, the file name and the tags. If you want to search for a combination of two words (e.g. “bass” and “analog”) just enter both words in the Text Search Field with a gap in between. As you start typing, the list of matches will start narrowing in the Search Result List. To the right of it you will find the Reset Switch that resets both text search and tag search. 3.1.
•• If it is a Pattern, it will be loaded into the Pattern Slot currently in focus. •• If it is a FX Preset, it will be loaded into the FX Slot currently in focus. •• If it is a Sample, it will be loaded into the selected Zone of the Sound in focus replacing the current one. ! Since the FX Slots are not necessarily always in focus, you will have to make sure to select one before being able to load a FX Preset.
The Purge Missing Samples and the Find Missing Samples entries in the Maschine 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.
The Browser with DISK selected showing the available volumes In the tree view, choose the directory that contains your Samples. You can preview the Samples automatically before loading them by activating the Audition function in the lower row of the Browser. Click on the Audition Button; the slider to the right is the Volume Slider for the Audition Control. From left to right: Swap Button, Audition Button, Volume Slider, Import Button MASCHINE 1.
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. You can also make non-contiguous selections within a directory by clicking while holding down the Ctrl key (PC) or the Command key (Mac).
3.2.2 Tagging your Samples, Sounds, Groups, FX Presets, Patterns and Projects In the three category columns of the Tag Editor (Bank, Type and Subtype), select the tags you want to apply to the Sample you are importing: The Tag Editor with selected Tags (highlighted and checkmarked) ! Make sure to be as precise as possible when tagging your files in order to be able to find what you are looking for later. You can add as many Tags to a file as you want to by clicking on them.
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 is also possible to edit the Tags that are on existing files in your Library. Just click on the file you want to edit the Tags of in the Search Result List, click the Edit Button and select/ deselect Tags by checking/unchecking the respective checkmarks next to them.
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. If you click on the Magnifier Tool the search query for the currently selected file will be restored allowing you to choose other results for that query from the Search Result List.
3.4 The Browser on the Hardware In contrast to the Software, the Browser on the Hardware can only load files that have already been added to the Library. You cannot directly access specific directories on your hard drives with the Browser on the Hardware. This is why you should always tag all your Samples and import them to the Library using the Software beforehand. To enter the Browser on the MASCHINE Controller, press BROWSE.
With the Subtype, you can narrow down the description of your file even further. Examples for the Subtype category are Djembe, Glitch or Analog. Subtype The Left Display is used to define your filters and the Tag categories by turning Knobs 1-4. The Right Display shows the Search Result List and enables you to load a file.
4 Creating Sounds Each Group consists of 16 Sound Slots that can be filled with either one audio file (a Sample in MASCHINE terminology), or with multiple audio files mapped across the keyboard, as well as any accompanying effects (a Sound in MASCHINE terminology). A Sound can also be used as an effect source in MASCHINE; you could for example use a Sound to host a Send Effect for other Sounds, or even route external audio signals through a given Sound (read chapter 9, “Using FX,” for more details on this).
as a reverb in this slot that can be made available to other Sounds in your Project. For more info on how to use this mode, please refer to chapter 9.8, “Creating a Send Effect.” •• MIDI Out: allows you to use a Sound to send MIDI notes to your host application or your external MIDI equipment. For more info on the MIDI Out mode, refer to chapter 4.10.3, “MIDI Output from Sounds.” In the following section, we will concentrate on the Sampler mode, which is probably the one you will use the most.
Hardware ►► On your MASCHINE Controller, use the Page Buttons to step through the various Parameter Pages. On the MASCHINE Controller, step through the pages by pressing the Page Buttons. Software ►► In the Software, use the Page Selector to step through the Parameter Pages. In the software, step through the pages by clicking the Page Selector's arrow buttons. 4.2.
Voice Settings 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. 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.
4.2.2 Page 2: Pitch/Gate and Amplitude Envelope Page 2 of the Sampler Source Tab on the Hardware Page 2 of the Sampler Source Tab 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 on Page 6, see below). Reverse If Reverse is activated, the Sample will be played backwards.
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: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control.
4.2.3 Page 3: FX and Filter Settings Page 3 of 6 from the Sampler Source Tab on the hardware Page 3 of 6 from the Sampler Source Tab on the software 4.3 FX This is a small selection of basic FX, not to be mixed up with the FX section covered in depth in chapter 9, ”Using FX.” FX Controls Comp Basic compressor allowing you to give a Sound more density. Drive Defines the amount of saturation applied to a Sound.
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 types: EQ, HP2, BP2, LP2 and Off. Each type results in different parameters to the right of it: Filter Controls EQ The EQ is an equalizer with Frequency, Bandwidth and Gain. HP2 HP2 is a highpass filter with Cutoff and Resonance. Cutoff can be modulated by Velocity, the Modulation Envelope, the LFO or the MIDI Modulation Wheel.
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. Attack The time it takes for the envelope to reach its maximum level.
Page 5 of 6 from the Sampler Source Tab on the software LFO The LFO (Low Frequency Oscillator) is another modulation source based on waveforms with different shapes. Type Here you can choose the shape of the LFO waveform. Available shapes are Random, Saw, Rect (Rectangle), Tri (Triangle) and Sine. 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.
4.3.3 Page 6: Velocity Destination and Modwheel Destination Page 6 of 6 from the Sampler Source Tab on the hardware Page 6 of 6 from the Sampler Source Tab on the software Velocity Destination 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. Positive values shift the sample start position later in time as you play harder, negative values shift it closer to the beginning of the sample as you play harder.
Modwheel Destination Start Here you can determine how incoming MIDI Modulation Wheel data affects the Sample start parameter on Page 2. Cutoff This allows you to modulate the Cutoff parameter of the Filters with filter types LP, HP, BP (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. Pan Another modulation target for the MIDI Modulation Wheel: the panorama position on Output Parameter Page 1.
Main 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. % If MASCHINE is running as a plug-in, the External Outputs will correspond to virtual outputs in your host.
Page 2 of 2 from the Sampler Output Tab on the software Aux 1 Pre Mix If this is enabled, the Sound will be fed into Aux 1 before Main Level and Pan of the Sound. Aux 2 Pre Mix If this is enabled, the Sound will be fed into Aux 2 before Main Level and Pan of the Sound. 4.5 Saving a Sound To save a Sound, right-click (on Mac OS® X: Control-click) on the Sound Slot in the Arranger and select Save As… from the dropdown menu: Saving a Sound MASCHINE 1.
The Sound will be added to the Library and is ready to be tagged. % Saving a Sound is only available in the MASCHINE Software. 4.6 Copying and Pasting Sounds Hardware To copy a Sound from one pad to another, press and hold DUPLICATE, press the Pad of the Sound you want to copy, then select your target Sound Slot (this can also be in another Group, in this case first press one of the Group Buttons) by hitting its Pad. All parameters of the Sound will be copied including the source’s Pattern content.
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: Control-click) the Sound Slot and choose Reset from the dropdown menu. MASCHINE 1.
Resetting a Sound 4.8 Mute & Solo Muting is used to bypass the audio signal of either a Sound or a Group, whereas Soloing 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. Hardware Soloing Sounds and Groups ►► Press SOLO and hold it: now you can solo Sounds by hitting their Pads, and Groups by hitting the corresponding Group Buttons.
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.
Software Soloing a Sound ►► To solo a Sound, right-click (on Mac OS® X: Control-click) on the Pad icon in the Pattern Editor. Soloing the Kick Sound ►► To unsolo a Sound, right-click (on Mac: Control-click) on the Pad icon again. Soloing a Group ►► To solo a Group, right-click (on Mac: Control-click) on the Group icon in the Arranger: Soloing a Group ►► To unsolo a Group, right-click (on Mac: Control-click) on the Group 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. 1. First select an empty Sound that you want to load the REX file to by clicking on its Sound Slot. 2.
A REX file loaded on Sound 1 in the Piano Roll/Keyboard View 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.
4.10.1 Sound MIDI Batch Setup To create a MIDI setting for an entire Group, you can use the Sound MIDI Batch Setup function. Here you can set up how all Sounds of the selected Group respond to MIDI. ►► Right-click (on Mac OS® X: Ctrl-click) on the Group Slot in the Arranger and choose Sound MIDI Batch Setup from the pop-up menu. Selecting Sound MIDI Batch Setup for a Group Now you will be presented with the Sound MIDI Batch Setup dialog: The Sound MIDI Batch Setup dialog MASCHINE 1.
Sound MIDI Batch Setup Options Mapping Mode 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 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.
The Sound MIDI Settings dialog ! 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. 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 dropdown menu. Low Note Define the lowest note on which the Sound will respond to MIDI here.
% 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 drumkit, 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.
% You will notice that the Sound was automatically renamed to “MIDI Out” for clarity’s sake! Software 1. Select an empty Sound Slot by clicking on it. 2. Select the Source tab (SRC) and click on the arrow to open the dropdown menu. The dropdown menu in the Source tab 3. Choose MIDI Out, then select the MIDI Channel you want the Sound to send MIDI to. Choosing MIDI Channel 1 as output for Sound 2 MASCHINE 1.
5 Creating Groups A Group contains 16 Sound Slots with all their parameters. It can have up to two 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 Source Tab Parameters 5.1.
5.1.2 Page 2: Pitch & Swing The Pitch & Swing Page of the Group Source Tab on the hardware The Pitch & Swing Page of the Group Source Tab on the software 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. Swing Amount Groups can have an individual Swing value independent of the Global Swing settings.
5.1.3 Page 3: Macro Controls Macro Controls enable you to control selected parameters using eight Knobs per Group. This is useful for playing live since you can choose a set of parameters to manipulate on one screen without having to switch screens, but also allows you to automate MASCHINE parameters using the host automation of your DAW. Please refer to the manual of your DAW software for more information on that.
1. Choose any controllable parameter of your Group or the Sounds contained in it and rightclick (on Mac OS® X: Ctrl-click) on it: Assigning the Tune parameter of a Sound to a Macro Control 2. Now choose one of the available Macro Controls 1-8.
Assigning Macro Controls to external MIDI CCs Just like the parameter assignment, the MIDI CC assignment is performed in the MASCHINE Software. To select a MIDI CC, get back to the Page 3 of the Group Source Tab, right-click (on Mac OS® X: Ctrl-click) on the Macro Control and choose your MIDI CC: Assigning MIDI CC 1 to Macro Control 1 Alternatively, you can also let MASCHINE learn the MIDI CC it is supposed to react to.
As soon as you select MIDI Learn, a white dot starts to flash until the software receives an incoming MIDI CC: The white dot next to the Macro Control →→ When the MIDI CC has been received, the white dot will stop flashing. 5.2 The Group Out Tab Parameters 5.2.1 Page 1: Routing, Volume and Pan Page 1 of 2 from the Group Out Tab Parameters on the hardware Page 1 of 2 from the Group Out Tab Parameters on the software MASCHINE 1.
Main Output This is used to define where you want to send your Group. Available options are Master, all Sounds with Input enabled, the External Outputs 1-8 and None. Level Here you adjust the volume level of your Group. Pan Defines the pan position of your Group in the stereo field. Aux 1 Destination The destination for Aux 1: available destinations are Master, all Sounds with Input enabled, the External Outputs 1-8 and None.
Page 2 of 2 from the Group Out Tab Parameters on the software Aux 1 If this is enabled, the Group will be fed into Aux 1 before the volume control of the Group. Pre Mix Aux 2 If this is enabled, the Group will be fed into Aux 2 before the volume control of the Group Pre Mix 5.
5.4 Copy and Paste Groups Hardware ►► To copy a Group, press and hold DUPLICATE, press the Group Button of the Group you want to copy, and then the Group Button of the target Group. All parameters of the Group will be copied, including all Pattern content. Software You can copy & paste Groups by right-clicking (on Mac OS® X: Control-click) on the Group Slot. In the dropdown menu, choose Copy to copy a Group.
Software ►► To reset a Group, right-click (on Mac OS® X: Control-click) the Group Slot and choose Reset from the dropdown menu. 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. To name a Sound, double-click on its Sound Slot: Renaming the Sound “Marcato Strings” You can now edit the name of that Sound. Press the Return key to confirm.
Renaming the Sound Group A ! 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 and Software. Other than that, previously loaded Patterns will not be removed, enabling you to try out a Pattern using different Sounds. Hardware 1.
Software 1. To load a Group without a Pattern, select the Group in the Browser’s Search Result List. 2. Uncheck the checkmark in the bottom of the Browser. 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 MPC 4000, MPC 3000, MPC 2000, MPC 500, MPC 1000 and the MPC 2500. 5.8.
MASCHINE MPC Parameter MPC 500, 1000, 2500 MPC 4000 MPC 2000 (XL) MPC 3000 Sample Name x x x x Sample Name Parameter Play Mode x x − − Playback Type (ADSR,One shot, 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 Frequency x − x x Filter Cutoff F
5.8.2 Importing MPC Program files 1. To import an MPC Program file, open the Browser on the MASCHINE software and enter DISK Mode. 2. Navigate to the MPC Program you want to import and double-click it. You will be prompted with the following dialog: The MPC Import dialog MASCHINE 1.
3. In the Input section of the dialog window, select one of the import options: Input 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. 4. Click OK to start the import procedure. MASCHINE 1.
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 a complex, yet easy to use Pattern Editor and sophisticated automation possibilities. Make sure to also check out the tutorial videos regarding the Sequencer: “Step Recording” and “Live Recording 1-3” available on the Native Instruments website at http://www.nativeinstruments.com.
Doubling a Pattern If you want to double your Pattern Length as well as its content, you can do so by pressing Button 2 in Pattern Mode. Keep in mind that doubling a Pattern twice results in a Pattern that is four times as long. 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 available.
The Input Mode on the hardware Keybd 16 Vel (Button 2) Pressing Keybd (Button 2) will get you into Piano Roll/ Keyboard Mode. This mode is described in more detail below. (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. Activates the Fixed Velocity setting for all Pads.
6.1.3 Recording the Pads You can easily record beats with the Pads: press PLAY, then RECORD to enable Record Mode. Now hit the Pads you want to record and listen to what happens. % Take your time to set up the Pad Sensitivity and Velocity Scaling to your personal taste—you will have even more fun playing MASCHINE! 6.1.4 The Metronome The Metronome will help you to keep time when recording in realtime. To activate the Metronome, hold down SHIFT and press PLAY.
1. Hit the Pad with the Sound you want to record to select it and press Play. 2. 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. 3. Each Pad now represents one step of a 16-step sequence: you can activate that step by hitting the Pad once, lighting it up. If you hit it again, the step is gone. This way it’s easy to quickly put some drums together.
6.1.6 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). 2. With Buttons 5-8, you can select different quantization settings while playing. 3.
6.1.7 Using the Piano Roll/Keyboard Select your Sound by hitting the Pad it is assigned to. Now enter Input Mode by hitting PAD MODE (KEYBOARD) and lock it by hitting Button 1. Piano Roll/Keyboard Mode on the hardware Displays Press Button 2 to enter Piano Roll/Keyboard Mode. If you hit the Pads now, you will hear that they all play the same Sound, but with a different pitch each. The pitch scale is divided in semitones, starting with Pad 1 as the lowest note going up to Pad 16 as the highest note.
6.1.8 Recording automation One of the really cool features of MASCHINE is the ability to automate parameters from the FX Modules and the Sampler Modules both on the hardware and on the software in a very easy way. ►► To automate a parameter with the hardware, first make sure the song is playing, then simply turn one of the 8 Knobs while holding down AUTO WRITE (F2).
6.1.9 Recording automation in the Step Sequencer It is also possible to record automation in the Step Sequencer. Enter the Step Sequencer by pressing STEP. Hold the Pad representing the Step you want to automate and turn the Knob that represents the parameter you want to automate; after a short while, the Displays will show you the parameters of the selected Page. Note: all Steps after the one you recorded automation for will have the same parameters as the automated one since only the offsets are recorded.
Pattern Length Grid The Pattern Length Grid affects the resolutions available when holding PATTERN and turning Knob 1. Changing this to a value less than 1 allows you to dial in lengths on the Pattern page other than a full bar for example. 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 hitting Pad 16.
Quantization while recording and playing You can also choose to have notes automatically quantized. Enter Input Mode by pressing PAD MODE (KEYBOARD). Using Knob 1 you can now choose when quantization should be performed: Record (only when recording), Rec/Play (when recording and when playing) or None, meaning no quantization will be performed. When Input Quantization is set to Record, the selected quantization value will automatically be applied to the Pattern on its next cycle.
Start While holding SELECT, using Knob 5, you can determine at which event of the currently selected Sound the selection of notes and events will start. End While holding SELECT, using Knob 6, you can determine at which event of the currently selected Sound the selection of notes and events will stop. 6.2.2 Erase/Clear To erase notes, press and hold both ERASE and the Pad containing the desired sound while the Pattern is playing.
6.2.4 Nudge Nudge allows you to shift selected notes by the Step Grid value; press SHIFT + Pad 7 (< NUDGE) to move the selected notes to the left, or SHIFT + Pad 8 (Nudge >) to move the selected notes to the right. 6.2.5 Compare/Split This function allows you to compare a selected Pattern with its previous state, for example if you have added or edited events. This is an easy way to create variations or to compare two versions of a Pattern.
7 Working with Patterns (Software) 7.1 The Pattern Editor 1 Step Editor View Switch 2 Dragger Icon 3 Step Editor 4 Piano Roll / Keyboard View Switch 5 Sampling View Switch 6 Sound Slots 7 Automation Lane 8 Automation View Switch 9 Edit Controls 10 Pattern Timeline 11 Pattern Slots 12 Pattern Length Controls MASCHINE 1.
7.1.1 Selecting Patterns and Pattern Banks To select a Pattern, click on its Slot above the top row of the Step Editor: The Step Editor with Pattern A1 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: A2 to A6) are the ones that have content but are not selected, the empty ones (all others starting with A7) being the darkest ones.
7.1.2 Copy and Paste Patterns To copy a Pattern, right-click (on Mac OS® X: Control-click) on its Pattern icon and choose Copy from the dropdown menu: Copying a Pattern Now select an empty Pattern, right-click (on Mac OS® X: Control-click) on its Pattern icon and choose Paste from the dropdown menu to paste it to that Pattern. 7.1.3 Resetting Patterns You can reset Patterns choosing Reset from the dropdown menu pictured above.
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: Control-click) them. In the Step Editor the Sound in focus will change according to the row you put the note in. Selected notes turn white. MASCHINE 1.
7.2.1 Mouse actions in the Pattern Editor The following is a list of available actions in the Pattern Editor (works in both the Step Editor and the Piano Roll/Keyboard Mode.
7.2.2 The Zoom Tool Using the Zoom Tool, you can zoom in and out in the Pattern Editor. Click on the Zoom Tool and drag upwards to zoom in and downwards to zoom out. The Zoom Tool selected MASCHINE 1.
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 (Ctrl+clicking on the Mac OS® X) on the Pattern Slot and choosing the appropriate entry from the drop-down menu: Compare/Split in the dropdown menu Edit a given Pattern by adding some notes or automation to it, then click on Compare to toggle between the original content and the new version you just created.
7.2.4 The Piano Roll/Keyboard In order to select the Sound you want to record a melody with, click on its Sound Slot. Now click the Piano Roll/Keyboard Icon: the Grid that showed all Sounds of the Group in one row now only shows the Sound you selected. By adding steps, you can choose their pitch in halftones depending on where you put them, the lowest note being the lowest row in the Piano Roll/Keyboard Editor. The Software view of the Piano Roll/Keyboard Editor 7.2.
The outer ring of the knobs, used for displaying automation To remove the Automation, simply right-click (on Mac: Control-click) on that outer ring. Alternatively you can also select individual automation points in the Automation Lane and right-click (on Mac: Control-click) on them. To edit the Automation, drag the automation points in the Automation Lane.
% To “draw” Automation, check the box labeled “Paint” at the bottom and click-drag in the Automation Lane. 7.2.6 Adding a Modulator Another way to create automation is to draw it with the mouse. On the left of the Automation Lane you will see the Add Modulator dropdown menu. Clicking on it opens a list of automatable parameters for the selected Sound of the current Pattern: The Add Modulator dropdown menu showing a list of automatable parameters.
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.
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. Pattern Length ►► To adjust the Pattern Length, click on the number in the right part of the Pattern Length Control, then drag it upwards to extend the Pattern or drag it downwards to shorten it. Adjusting the Pattern Length MASCHINE 1.
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. You can also drag the grey arrow at the end of the Pattern to change the Length of the Pattern: Changing the Pattern Length by dragging the grey arrow.
Available quantization options are Quantize (simply quantizes the notes strictly according to the Step Grid) and Quantize 50% (only moves the notes half way towards the selected Step Grid). If you record notes from a MIDI keyboard or using the Pads, it often happens that you create double notes where you don’t want them; MASCHINE automatically detects and removes these double notes while quantizing. 7.2.
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: →→ You can now drag the exported audio to your desktop or into an audio channel of your host application. 7.2.
The dropdown menu in the Pattern Editor Header 3. Click and hold the Dragger Symbol in the Header of the Pattern Editor. The Dragger will display the name of the MIDI file you are about to drag: Rendered MIDI file, ready to be dragged. →→ 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 dropdown menu: Choosing Export MIDI… from the dropdown menu MASCHINE 1.
8 The MASCHINE Effects (FX) 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.
8.1 Dynamics 8.1.1 Compressor The Compressor on the software This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dynamic range. In the Library Project “Pounder” it is used heavily on pretty much all Groups, creating a very dense sound. Depth Threshold This value determines the threshold at which the Compressor starts to work.
8.1.2 Gate The Gate on the hardware The Gate cuts any part of the input signal which falls below the input threshold. This can be used to rhythmically chop the signal and make it sound more “punchy” or slice up vocal samples or pads for a stutter effect. 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.
8.1.3 Limiter The Limiter on the software 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 the Master FX slot. Note that the Limiter introduces a small latency. Depth Threshold This value determines the threshold where the Limiter kicks in.
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). 8.2 Filtering 8.2.1 Filter The Filter on the hardware Filter with selectable characteristics that can be modulated via LFO or envelope follower.
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. It is not available with filter-type Notch.
8.2.2 EQ The EQ on the hardware Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can also be used quite efficiently as a DJ-style cut-and-boost effect. Note that the parameters cover two pages. 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.
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. 8.3 Modulation 8.3.1 Chorus The Chorus on the software The Chorus is useful to “thicken” signals and enhance the stereo content. It is most effective on melodic sounds, but can also be used on hihats to make them more vivid or on a voice sample to create a doubling effect (thereby making it sound as if there were several voices).
Modulation Rate The Rate defines how fast the 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. 8.3.2 Flanger The Flanger on the hardware Classic Flanger with LFO and Envelope Follower modulators.
Envelope Shape Change the Shape of the envelope here. Lfo Speed The Speed of the Lfo in a range from 0.03 Hz up to 8 Hz. Lfo Sync Defines the speed of the modulation in musical values from 16/1 (once every 16 bars) up to 1/16 note. Stereo This parameter widens the stereo field of the effect. Feedback Amount Adjust the amount of the Feedback here. Invert Inverts the Flanger. Output Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. 8.3.
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. Depth Contour Contour determines the extent to which the input volume affects the intensity of the effect.
8.3.4 Freq Shifter The Frequency Shifter on the software The Frequency Shifter shifts selected frequencies of the audio signal by a user-specified amount. 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 here. Stereo This parameter widens the stereo field of the effect. Output Invert Invert the settings of the Frequency Shifter here.
8.3.5 Phaser The Phaser on the software Classic Phaser with LFO and envelope-follower modulators. The Phaser splits the signal into two parts and continuously modulates the phase of one of them. 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.
8.4 Spatial and Reverb 8.4.1 Ice The Ice on the software 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 “FX” – Group. Room Color With lower settings, the general sound is a bit more muffled. The higher the settings, the brighter it sounds. Ice The “ICE”-factor: higher values sound more metallic.
8.4.2 Metaverb The Metaverb on the hardware 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. Room 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 Panorama control of the Metaverb.
8.4.3 Reflex The Reflex on the hardware At moderate settings the Reflex can be useful to emulate small, “tight” rooms. At more extreme settings, it can produce interesting artificial, metallic textures. % Automating the Color parameter usually yields very pleasing results. 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.
8.4.4 Reverb The Reverb on the software The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural” sound for all sorts of other signals. 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.
8.5 Delay 8.5.1 Beat Delay The Beat Delay on the hardware 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. Delay Time The Time parameter defines the delay in musical values from 1/32 to 16/16.
8.5.2 Grain Delay The Grain Delay on the software 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. As a unique experimental effect, it is best experienced firsthand. Grain Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher.
8.5.3 Grain Stretch The Grain Stretch on the software The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the incoming signal. Master ON Enables the effect. Every time this button is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th. Time Stretch Defines the timestretch amount. Set to 50% for half speed. Loop Sets a loop length, in 1/16th steps.
8.5.4 Resochord The Resochord on the software The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord. The results are most effective with non-melodic content (like drums) as the Resochord will print its own harmonic content on to any input material. 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.
8.6 Distortion 8.6.1 Distortion The Distortion on the hardware Combining overdrive, feedback and modulation, the Distortion produces a heavy distortion/ fuzz effect, comparable to distortion stomp-boxes for guitars. Drive Amount Determines the basic amount of distortion. Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Feedback Amount Adjust the amount of the Feedback here. Tone General tonal characteristic of the Feedback.
8.6.2 Lofi The Lofi on the software The Lofi effect reduces the Bitrate and Sample Rate of the audio signal for an interesting “vintage” effect at subtle settings, and heavy digital distortion at extreme settings. 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.
8.6.3 Saturator The Saturator on the software The Saturator combines compression and saturation to increase the overall loudness and add additional harmonics. 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. MASCHINE 1.
9 Using FX 9.1 Adding FX to a Sound You can apply two Effects directly to each Sound as Insert Effects. Hardware 1. In Control Mode, press Button 4 to put the focus on the Sound Tab which gets selected on the Left Display, then hit the Pad with the Sound you want to apply the Effect to. On the Right Display, you can now see the Modules FX1 and FX2. Select FX1 by pressing Button 6 or FX2 by pressing Button 7. The Right Display showing the Modules FX1 and FX2 with FX1 selected 2.
The above method loads the initialized FX algorithm. If you want to load an FX Preset instead, press BROWSE (without pressing SHIFT). You will now be presented with a list of the available FX Presets; you can browse them in the usual manner by turning Knob 5 and load one by pressing Button 8, or load them directly by using Buttons 5 and 6. If you don’t see any FX presets after pressing BROWSE, turn Knob 1 to change the tag filter to FX.
The dropdown menu of the FX1 Module showing the Effects 3. After selecting the Effect with the mouse, you will find the parameters displayed in the FX Module: The parameters of the Reverb, ready to be tweaked % Some of the Effects will have more than one parameter page; in this case, use the Page Selector to navigate between them. You can also load FX Presets from the Browser either by double-clicking them or by dragging them to the FX Slot you want to use. 9.
Pressing Button 6 on the Right Display 2. To select an Effect for the FX Module, press SHIFT followed by BROWSE. The Right Display now shows the list of the available Effects. You can browse through them by either turning Knob 5, or load them directly by using Buttons 5 and 6. When you’ve found an Effect you want to apply, press Button 8 to load it into the FX Module. The Right Display showing the Load option ►► If you want to load an FX Preset, press BROWSE without SHIFT.
The Group in focus on the Arranger 2. Now click on the Group Tab in the Control Area to switch to the Group level: The selected Group Tab 3. Select one of the two FX Modules and click the Arrow to the right to get a list of all available FX: The list of available Effects for the Group 4. After selecting the Effect with the mouse, you will find the parameters displayed in the FX Module: MASCHINE 1.
The EQ applied to a Group % Some of the Effects will have more than one parameter page; in this case, use the Page Selector to navigate between them. You can also load FX Presets from the Browser either by double-clicking them or by dragging them to the FX Slot you want to use. 9.3 Adding FX to the Master You can apply two Effects to the Master so that all your Sounds and all your Groups together are being sent into the Effect. Hardware 1.
The parameters of the EQ in the FX1 Module of the Master Tab on the Left and Right Display % Some of the Effects will have more than one parameter page (like the EQ pictured above); in this case, use the Page Buttons to navigate between them. ►► If you want to load a FX Preset, press BROWSE without SHIFT. You will now be presented with a list of the available FX Presets; you can browse them by turning Knob 5 and load one by pressing Button 8, or load them directly by using Buttons 5 and 6. Software 1.
9.4 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. To do this, open the Audio and MIDI Settings… from the File Menu, activate the desired inputs by clicking on them, then click OK: MASCHINE's Inputs configuration in the Audio and MIDI Settings dialog Audio signals coming from external sources will now be routed to MASCHINE’s FX section! Hardware 1.
Selecting the Input Source 6. Press BROWSE again to leave the Browse mode. You can now select your external source by turning Knob 2. 7. Select one of the FX Modules: FX1 by pressing Button 6 or FX2 by pressing Button 7. 8. Press SHIFT followed by BROWSE: now you see the list of the available Effects. 9. Choose an Effect and load it using Button 8. Alternatively you can also load a FX Preset by hitting BROWSE and selecting one of the available FX Presets, loading it using Button 8.
Selecting the Input Source: Ext In 1 5. Click on one of the FX Modules next to the Input Module and select an Effect using the Effect Menu from the upper right corner of the FX Tab. Alternatively you can also load a FX Preset by dragging it from the Browser or double-clicking it. →→ Now the external audio will be processed by the Effect! 9.5 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)”).
The dropdown menu of the FX Module with the Save entry ! % This function is only available in the MASCHINE Software. Your FX Presets are automatically included in the MASCHINE Library after saving them, so you can tag them right away! MASCHINE 1.
9.7 Muting FX Muting FX might come in handy whenever you want to return to a dry, unaltered signal: such as after applying so much Reverb that you can’t hear the dry signal anymore, or to get rid of the Feedback while using the Delay for example. Hardware 1. Depending on the Tab you used the Effect on, press either Button 2 (for the Master), Button 3 (for a Group + the Group Button) or Button 4 (for a Sound + the Pad containing the Sound). 2. Now the Right Display shows the FX Modules.
9.8 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. Press CONTROL to ensure that you are in Control Mode. 2. Select an empty Group (let’s say Group B) by pressing its Group Button. 3. Select an empty Sound Slot (let’s say Sound 1), by pressing its Pad. 4.
Selecting Aux 1 on the hardware →→ As you can hear, the Sound is already being sent to the Effect; by turning the Aux 1 Level, you can adjust the amount of signal that gets sent into the Effect. Software 1. Select the first Sound Slot of an empty Group; now load an Effect into the Sound Slot’s FX Tab by selecting it in the dropdown menu: Loading the Filter 2.
3. Now select another Group with content (in this case the 909 Kit Group) and click the Output Tab (OUT) of the Sound you want to apply a Send Effect to (here: Snare 909): The Output Tab 4. You can see the two Aux Sends, Aux 1 and Aux 2.
9.9 Creating a Multi Effect Creating a Multi Effect Group is basically the same thing as creating a Send Effect. As described in the previous chapter, you can set up two Effects for every Sound in the Group, adding up to 32 Effects per Group this way! This can be useful if you like a certain combination of Effects for your live setup or in the studio. Although this might seem like overkill, you can afterwards still add two more Effects on the Multi Effect Group itself.
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! The Multi FX Dual LFO Filtered Delays on the software MASCHINE 1.
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.
The Scene Mode on the hardware Software ►► Select the Scene by clicking on the Scene Label in the Arranger Area. It will now be highlighted in white: Selecting Scene 1 10.2 Creating and deleting a Clip in the Arranger Each Clip placed in the Clip Area of the Arranger references one of the Patterns created in the Pattern Editor. Therefore, when a Pattern or any of its content is edited, all referencing clips in the Arranger will automatically get updated accordingly.
3. 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. The selected Pattern will automatically be inserted into the selected Scene. Overview of the Patterns on the Right Display ►► To remove a Clip from a Scene, press Button 4 labeled “Remove.
% If you have a mouse that is equipped with a scroll wheel, you can also create Clips by hovering over the empty Clip Area while scrolling up or down. As you scroll, you will notice that the Patterns can be selected quickly using the scroll wheel! 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.
Software ►► In the Software click on the dropdown menu above the Group Slots and choose the desired quantization from the dropdown menu. The Scene Sync on the software Retrig As described above, selecting a new Scene while another is playing will cause it to trigger at a quantization interval that corresponds to the Scene Sync settings. However, the new Scene will also pick up at the same bar location as the previous Scene This can be musically useful.
10.4 Inserting and Deleting Scenes Hardware 1. Enter Scene mode and lock it (press SCENE and Button 1 at the same time). 2. Using Button 3 (DUPL) you can now copy the Scene currently selected to the following Scene. The copied Scene will immediately begin playback. % To remove the Scene, press Button 4 (REMOVE). Scene View on the hardware: use Button 3 to duplicate a Scene and Button 4 to remove a Scene Software ►► Right-click (Ctrl-click on the Mac) on the Scene’s label and choose Duplicate.
10.5 Copy and Paste Scenes Hardware ►► To copy a Scene to another Scene Slot, press and hold DUPLICATE. Press the Pad of the Scene you want to copy, and then the target Pad for the Scene copy. Software 1. Right-click (Ctrl-click on the Mac) on Scene labels opens the Scene menu. 2. Select Copy from the Scene menu of the Scene you want to copy. 3. Select Paste from the Scene menu of the target Scene Slot. 10.6 Using the Loop Mode to combine scenes A single selected Scene is always looping automatically.
The Scene View on the hardware: pressing Button 2 (ALL) creates a loop from Scene 1 to Scene 7 Software 1. Click in the dark area below the Scene Label on the Scene you wish to define as the Start Scene and drag to the right. 2. Release the mouse button in the Scene where you want the Loop to end. The currently active Loop will be highlighted in light grey. →→ 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.
10.7 Triggering Scenes via MIDI The Scene MIDI Settings let you trigger and change Scenes using MIDI notes or MIDI Program Change messages. To access Scene MIDI Settings: 1. Click on the arrow in the Header Area of the Arranger, next to the Project’s name: Scene MIDI Settings selected in the dropdown menu 2.
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 dropdown menu, select the MIDI Channel the Scenes should receive MIDI notes from. Root Note This determines the MIDI note which triggers the first Scene. The following Scenes will be triggered by the following next higher MIDI notes.
11 Sampling & 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: section 11.1.3, “Slicing a Sample (Hardware),” Software: section 11.2.
11.1 Controlling Sampling from the Hardware 11.1.1 Recording a Sample (Hardware) Choose an empty Sound Slot to record into by selecting it with its Pad. Now hit SAMPLING to enter Sampling Mode: The Record Page on the hardware Displays 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).
If Sync is selected, you can synchronize the recording function to the sequencer, so that the recording starts in sync with the sequencer after you hit START (Button 5). Sync Note: the recording will start as soon as the sequencer starts; if it is already running, the recording will start at the top of the next bar. Using Knob 4, you can choose a length for the Sample to be recorded: either 1, 2, 4, 8, or 16 bars or choose Free if you want to stop the recording yourself.
11.1.2 Editing a Sample (Hardware) With Button 2 you can reach the Edit Tab to edit the Sample. Here you can edit the start and end point of the Sample and create a Loop for it. Use Knob 5 to zoom in on the waveform of the Sample and Knob 6 to navigate through it. Page 1: Trim The Sample Editor on the hardware. Start Using Knob 1 you can adjust the start point of the Sample here. End Using Knob 2 you can adjust the end point of the Sample here.
Page 3: Envelope This particular 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. 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. Audio Editing Audio Editing allows you to process your Samples.
Selecting audio processes Use Button 7 and 8 to access the audio function you want to use. To perform the audio function on the Sample, press Button 6 after selecting it. Available functions are: 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.
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. % Use Knob 5 and 6 to navigate and zoom the Slices! The Slice Tab on the hardware Mode Using Knob 1, you can select either Split, Grid or Detect here. Split Mode In Split Mode, the Sample will be sliced into equally spread Slices.
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. Sens Sensitivity parameter for the transient recognition (Knob 2). Higher values will cause more Slices to be detected because more transients will be recognized, lower values will result in less slices.
Selection Slice Choose the Slice you want to edit by dialing Knob 1 here; the display will show you which Slice is currently selected. You can also use the Pads to select Slices starting from Pad 1. Slice Start Here you can adjust the start point of a Slice using Knob 3. 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.
11.1.4 Mapping a Sample (Hardware) ►► In Sampling Mode, hit Button 4 to enter the Mapping Tab. Here you can create Zones consisting of Samples and their note ranges and velocity ranges. The Zones can overlap, allowing you to trigger different Samples at once or triggering different Samples depending on how hard you hit the Pads. ►► To switch between Zones, use Buttons 7 (Prev) and 8 (Next). ►► To delete a Zone, press Button 5 (Remove). Adding Samples to the Map 1.
Page 2: Velocity Settings The Velocity Range of the selected Zone displayed on the hardware Low Dial Knob 1 to define the lowest velocity for the Zone’s velocity range. High Dial Knob 2 to define the highest velocity for the Zone’s velocity range. Page 3: Tune, Gain and Pan Basic parameters of the selected Zone displayed on the hardware Tune Tune control for the Zone (Knob 1). Gain Volume level for the Zone (Knob 2). Pan Panorama position for the Zone (Knob 3). MASCHINE 1.
11.2 Controlling Sampling from the Software 11.2.1 Recording a Sample (Software) 1. First choose an empty Sound Slot to record into by clicking on its name. ! If you choose a Sound Slot that is not empty, all Samples assigned and mapped to it will be removed. 2. Now click the Sampling Button right underneath the Piano Roll /Keyboard Button to open the Record Tab: The Record Tab MASCHINE 1.
1 Source Settings You can record Samples internally (check the Int radio button) from another Group, Sound or the Master Output or from one of the External Inputs of MASCHINE: In 1 L, In 1 R, or In 1 L + R (check the radio button labeled Ext). 2 Mode Settings In the next Panel of the Record Tab, you can select a way to start the recording: either by setting a Threshold value when you select the Detect radio button (adjustable with the mouse by dragging up and down) or in Sync with the Project Tempo.
6 Zoom Tool Use this to zoom in and out of the waveform by click-dragging up (zoom in) and down (zoom out). There is actually another, more intuitive way to both zoom and scroll through the waveform.
11.2.2 Editing a Sample (Software) In the Edit Tab, you can do the following: adjust Start and End of the Sample, enable Loop Mode, adjust Start and End Points of the Loop, or set a Crossfade between the End and the Start point of the Loop.
3 Info Bar Displays the file name and the length of the currently edited Sample. 4 Sample Editor Menu 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.
6 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). 7 Envelope 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. 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. 11.2.
The Slice Tab on MASCHINE software 1 Mode and Slices Settings 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. Slices Depending on the Mode selection you have made, you can adjust the following here: In Split mode: Choose the amount of Slices: 4, 8, 16 or 32.
2 BPM Settings Auto If this radio button is selected, MASCHINE will calculate the tempo automatically. Man If this radio button is selected, you can enter the tempo in BPM manually. BPM If you have selected Auto, you can choose between the tempo that MASCHINE detected, or half or double of that tempo. 3 Add and Remove Add This allows you to add a Slice according to the current selection and the Mode and Slices Settings. Remove Here you can remove the currently selected Slice.
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. Loop Dragger The Loop Dragger allows you to drag the Loop to another Sound or another Group.
6 Dropdown Menu 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.
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). MASCHINE 1.
11.2.4 Mapping a Sample (Software) Mapping Samples is a way to create Sounds with more than one Sample across the MIDI keyboard. 1. Select an empty Sound Slot, then click the Sampling icon and enter the Mapping Tab by clicking on it: Opening the Mapping Tab in the software 2. To add a new Sample, select one from the Browser and drag it into the mapping area.
Several Zones in the Mapping Tab Mapping Tab: Controls Root Select a root note in the Root field. The root note will be highlighted in brown on the Keyboard; to change it, you can also drag it to another note on the Keyboard. Low Note Set the lowest note of the Zone by entering it here. Alternatively, you can drag the left border of the Zone to the lowest note. The note range of the selected Zone will be marked on the Keyboard with a slightly lighter color.
Pan Set the panorama position of the Zone here. Horizontal Zoom Tool Use this to zoom in and out horizontally by click-dragging up (zoom in) and down (zoom out). Vertical Zoom Too Use this to zoom in and out vertically by click-dragging up (zoom in) and down (zoom out). Dropdown Menu 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. MASCHINE 1.
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 two Insert FX. 12.1 The Master Source Tab (SRC) 12.1.1 Page 1: Master Mixer The Master Mixer on the hardware The Master Mixer on the software Level Level knobs A-H These knobs allow you to adjust the volume level of each Group.
12.1.2 Page 2: Group Panning The Group Panning on the hardware The Group Panning on the software Pan Pan knobs A-H This allows you to adjust the panorama position of each Group. If you adjusted it already in the Group Out Tab, this will be represented here. 12.2 The Master Output Tab (OUT) The Master Output Tab on the hardware MASCHINE 1.
The Master Output Tab on the software Main Destination Here you can choose to which output you would like to send the Master Signal: available options are Ext Out 1-8. On the Software, click on the label to open the dropdown menu allowing you to choose an output, on the hardware use Knob 1. Level This allows you to adjust the volume level of the Master output. Pan This allows you to adjust the panorama position of the Master output. MASCHINE 1.
13 Exporting Audio ! The Export function is only available in the Software! 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. 13.1 Export Audio Choose Export Audio from the File Menu and you will be presented with the following dialog: The Export Audio window MASCHINE 1.
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). Output This is to determine what gets exported: 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.
13.2 Collate Audio Sometimes it is useful to have the ability to save the Samples of a Project outside of the MASCHINE Library. If you want to take a Project to another studio or if you want to backup a production with all the related files, this comes in handy. Choose Collate Audio... from the File menu: Choosing Collate Audio...
14 Appendix A: MASCHINE Controller Quick Reference Chart This will give you a quick overview of the most used functions available on the MASCHINE Controller. You can print it so that you don’t have to open the Manual every time you are looking for the basic functions. 14.1 Basic Sequencer Controls Play/Stop Press PLAY. Activate Record Press REC. Replace Events Press and hold REC and ERASE (REPLACE) to replace Events with new Events. Play Loop from beginning Press LOOP/RESTART.
14.2 Loading and Saving Loading a File from the Browser Saving a Project 1. Press BROWSE to enter Browse Mode. 2. Select the target tab with Buttons 2 - 4. 3. Select the file type by turning Knob 1. 4. Set attribute filters with Knobs 2 - 4. 5. Select a file dialing Knob 5. 6. Load it by hitting Button 8 7. Press BROWSE to exit Browse Mode Press SHIFT and SNAP (F1) 14.3 Scene Operations Switching Scenes Press and hold SCENE; now select the Scene with the Pads.
Select the Sync Grid Change Sync Grid Value Press and hold GRID, then Button 2. A) Press and hold GRID, then step through the values with < or > in the Transport Area. B) Press and hold GRID, then select a value by pressing a Pad. 14.4 Pattern Operations Locking Pattern Mode Press PATTERN followed by Button 1. Selecting Patterns Press and hold PATTERN; now select the Pattern with the Pads.
14.5 Basic Editing Select the Step Grid Change Grid Value Keyboard Mode Press and hold GRID, then Button 4. Press and hold GRID, then step through the values with < or > in the Transport Area. Press and hold GRID, then select a value by pressing a Pad. Press SHIFT and PAD MODE (KEYBOARD). Press and hold PAD MODE (KEYBOARD), then Button 2. Step Sequencer Mode Press STEP. Selecting Events Press and hold SELECT, then use the Pads to choose the Events you want to select.
14.7 Sound Operations Selecting a Sound Press the Pads until you hear the Sound you want to select Silently selecting a Sound Press SELECT and the Pad of the Sound you want to select Loading a Sound Loading a Sample Resetting a Sound Slot Sound Volume 1. Press BROWSE and then Button 4. 2. Set the Filter to “Sound” by turning Knob 1. 3. Select a Sound by dialing Knob 5. 4. Load it by hitting Button 8. 1. Press BROWSE and then Button 4. 2. Set the Filter to “Sample” by turning Knob 1. 3.
14.9 Muting Locking Mute Mode Press MUTE together with Button 1. Muting a Group Press and hold MUTE and one of the Group Buttons A-H. Muting a Sound Press and hold MUTE and one of the Pads 1-16. Muting FX Press SHIFT and Button 6 to mute FX1. Press SHIFT and Button 7 to mute FX2. 14.10 Soloing Locking Solo Mode Press SOLO together with Button 1. Soloing a Group Press and hold SOLO and one of the Group Buttons A-H. Soloing a Sound Press and hold SOLO and one of the Pads 1-16. 14.
14.12 Basic Sampling Sampling from an external Source Sampling from an internal Source 1. Press SAMPLING. 2. Set the Source to „Extern“ using Knob 1. 3. Choose your Input Source by dialing Knob 2. 4. Dial Knob 4 to set the recording threshold level. 5. Press Button 5 to start the recording. 1. Press SAMPLING. 2. Set the Source to „Intern“ using Knob 1. 3. Choose your Input Source by dialing Knob 2. 4. Dial Knob 4 until the Threshold reads 0 dB. 5. Press Button 5 to start the recording.
14.13 Secondary Pad Functions Undo (Pad 1) Redo (Pad 2) Compare (Pad 3) Split (Pad 4) Quantize (Pad 5) Quantize 50% (Pad 6) Nudge left (Pad 7) Nudge right (Pad 8), Clear (Pad 9) Press SHIFT and the corresponding Pad. Clear Automation (Pad 10) Copy (Pad 11) Paste (Pad 12) Semitone – (Pad 13) Semitone + (Pad 14) Octave – (Pad 15) Octave + (Pad 16) MASCHINE 1.
14.14 Navigation Shortcuts on the MASCHINE Controller If you are really “lost in the flow” you might not want to take your hands off the MASCHINE Controller. The Navigation Shortcuts enable you to zoom and navigate in the Arranger, the Pattern Editor and the Sampling View on your computer screen by using the MASCHINE Hardware. This is done by pressing the lit Pads in Navigate mode (press NAVIGATE to enter Navigate mode and Button 1 to lock it) and/or dialing the Knobs as described below.
Arranger Navigation 1 Pad 14: Zoom In in the Arranger 2 Pad 10: Zoom Out in the Arranger 3 Pad 9: Scroll Left in the Arranger 4 Pad 11: Scroll Right in the Arranger Pattern Editor/Sampling View/Keyboard View Navigation 5 Pad 6: Zoom In in the Pattern Editor/Sampling View/Keyboard View 6 Pad 2: Zoom Out in the Pattern Editor/Sampling View/Keyboard View 7 Pad 1: Scroll Left in the Pattern Editor/Sampling View/Keyboard View 8 Pad 3: Scroll Right in the Pattern Editor/Sampling View/Keyboard View 9
14.15 Other Shortcuts on the MASCHINE Controller Adjusting the Metronome volume To adjust the Metronome volume, press and hold SHIFT + PLAY on the MASCHINE Controller and dial the VOLUME Master Encoder. Activating Count-In To activate a Count-In of one bar length, press SHIFT + RECORD on the MASCHINE Controller. Sound Volume Shortcut To adjust the volume of a selected Sound, press the corresponding Pad and dial the VOLUME Master Encoder.
Group Volume Shortcut To adjust the volume of a Group, hold the respective Group Button and dial the VOLUME Master Encoder. The Left Display will show a temporary level meter displaying the volume of the Group. Temporary level meter for a Group Group Pitch Shortcut To adjust the pitch of a Group, hold the respective Group Button and dial the TEMPO Master Encoder. The Left Display will show a temporary indicator for the pitch of the Group.
Step Velocity Shortcut in the Step Sequencer To adjust the Velocity of a Step in the Step Sequencer, hold the corresponding Pad and dial the VOLUME Master Encoder. The Left Display will show a temporary meter displaying the Velocity value of the Step. Temporary meter for the Step Velocity Step Pitch Shortcut in the Step Sequencer To adjust the Pitch of a Step in the Step Sequencer in semitones, hold the corresponding Pad and dial the TEMPO Master Encoder.
15 Appendix B: Keyboard Shortcuts 15.1 Views Key Function F5 Full Screen Mode F6 Drum Grid View F7 Piano Roll View F8 Sampling View F9 Browser F10 Arranger F11 Middle area F12 Automation MASCHINE 1.
15.2 Navigation ! The Navigation shortcuts only work outside of MASCHINE’s Browser. Key Function Page Up Prev Group Page Down Next Group Numeric - Prev Pattern Numeric + Next Pattern Numeric / Prev Pattern Bank Numeric * Next Pattern Bank Left / right Select Scene Up / down Select Group 15.3 Editing Key Function 0 Grid Off 1 1/1 2 1/2 3 1/4 MASCHINE 1.
4 1/8 5 1/16 6 1/32 7 1/64 8 1/128 Shift + 1-7 Triplet Version Q Quantize Shift + Q Quantize 50% Ctrl/Cmd+D Duplicate Pattern Function (as on HW) Alt+Left Nudge Left Alt+Right Nudge Right P Paint Mode on/off Del delete events Ctrl/Cmd + Z Undo Ctrl/Cmd + D Duplicate Pattern function (as on HW) Ctrl/Cmd + left/right Move Scene MASCHINE 1.
15.4 Transport Key Function Space start/stop sequencer Ctrl/Alt+Space Start Sequencer from Scene Loop Start MASCHINE 1.
16 Appendix C: 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. 16.1 Preparations 16.1.
16.1.4 Name your Groups and Sounds Naming your Groups and Sounds gives you a better overview of exactly what you are doing, especially if you focus on playing with the MASCHINE Hardware. It might not be something that is very interesting, but it certainly pays off in a sometimes rather hectic live situation to enable a quick overview. 16.1.
16.2 Basic Techniques 16.2.1 Use Mute & Solo Mute and Solo are a good way to build up a live set especially on MASCHINE 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.
16.2.5 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 record automation for the Multi FX as Patterns. By using Patterns for the Multi FX Group you could for example trigger a filter-sweep or a wild modulated Beat Delay. 16.
17 Index A Activation 20 Arranger 24, 25 minimizing 34 Arranger Timeline 25 Audio exporting 213 Audio and MIDI Settings recording in Step Sequencer 113 Automation (Software) drawing with mouse 127 Automation View 35 AUTO WRITE Button 112 Aux 170, 171, 172 Aux Sends 75 Audio 45 B MIDI 48 Bitrate Bitratereducing 156 Routing 47 Audio driver Browser 24 in-depth 51 selecting 46 Audio Engine Button 25 introduction 30 Audio inputs loading files 217 on the Hardware 62 selecting 47 showing and hiding 33
Connect Button 25 using 158 connecting Controller 21 Equalizer 140 Control Area 24, 27 Event Controller 18, 19, 21, 234 selecting using MASCHINE Controller 219 connecting 21 Exporting Audio 213 driver installation 19 External Sync 50 CPU Meter 25 CPU power 233 Crossfade setting 199 D F F2 Button 112 File Browser Overview 26 File Type Display Area 25 Distortion avoiding 234 digital 156 selecting in Browser 52 File Type Selector 26, 51 Filter selecting mode 71 types 71 E Effects 134 applying
Compressor 135 Grids (Software) 128 creating multi effect 173 Grid Value creating send effect 170 Distortion 155 changing 219 Group 80, 81 EQ 140 adjusting volume using MASCHINE Controller 219 Filter 138 loading using MASCHINE Controller 219, 220 Flanger 142 Multieffect 236 FM 143 muting 83 Grain Delay 152 muting using MASCHINE Controller 221 Ice 147 naming 234 Limiter 137 soloing 82 loading 158 soloing using MASCHINE Controller 221 loading using MASCHINE Controller 220 Group Button 8
H assigning parameters to 92 Header 24 Manual Update 15 Mapping Samples 207 Mapping Tab 29, 194, 207 I Input 171, 197 Input Module 167 Input Tab 171 Installation Mac OS® X 19 Windows® 18 K MASCHINE Controller Interface elements 22 MASCHINE Controllersecuring 21 Master Introduction 31 using Effects 234 Master Output 186 Master Section 210 Kensington Lock 21 Output 212 L Source 210 Latency setting 46 Master Tab 27, 163, 164 Menu Button 25 LFO 138, 142, 146 Metronome 108 Library 18, 20 MIDI 13
locating 55 Modes Stand Alone and Plug-in 37 Switching 37 P Pad icon 82 Pads recording 108 Modifier Buttons 23 Page 27 Modulation Lane Page Selector 27 hide 35 Multieffect 236 Mute 235 lock 81 unlock 81 MUTE (Controller) 81 Mute Mode locking using MASCHINE Controller 221 Parameter automation recording using MASCHINE Controller 221 Parameter Page hiding 34 Parameter Pages navigating 35 Pattern loading using MASCHINE Controller 218 Pattern Banks N Naming Groups and Sounds 99 NI Logo 25 Note Repeat 110
creating 105 Q doubling 106 Quantization (Hardware) duplicating 106 quantizing after recording 114 editing 113 quantizing while playing 115 removing 106 Quantization (Software) 130 selecting 105 Quick Browse 60 Patterns (Software) adjusting length 129 Quick Browse Area 27 Quick Reference 216 editing 121 Automation 221 saving 120 Basic Sequencer Controls 216 working with 118 Loading 217 Piano Roll 111, 203 Mixing, Basic 219 Piano Roll (Hardware) 111 Muting 221 Pitch Patterns and Scen
importing to Sounds 83 Root Note setting 208 Sampling Mode 186 Sampling (Software) 196 editing a Sample 199 slicing a Sample 201 Saving S Safety 16 Sample importing into Library 58 Sample Rate reducing 156 selecting 46 Sampler Parameters in the Output Tab 75 in the Source Tab 65 Sampling 185 Groups 97 Scene 175, 181 duplicating 181 inserting 180 selecting 175 synchronizing Scenes 178 SCENE Button 175, 181 Scene Column 177 Scene Loop setting using MASCHINE Controller 217, 220 Scene MIDI Settings 183 from
Software Interface Voice Settings 67 Overview 24 Solo 235 working with 64 Sound Source 170 locking 80 Sound Tab 27, 166 Sound 82 Source 27, 166, 186 SOLO (Controller) 80 External 186 Soloing 82 Internal 186 Solo Mode selecting 64 locking using MASCHINE Controller 221 Song Source Tab 171 Source Tab (SRC) creating 175 Sound 80 muting using MASCHINE Controller 221 Sound 64 SRC 65 Step Grid (Hardware) 113 selecting using MASCHINE Controller 220 changing quantization 113 soloing using MASCHIN
deleting 60 Volume 25, 157 editing 60 Text Search using in Browser 54 Text Search Field 26, 52 Threshold 136, 137, 186 Transport Controls 25 Transpose (Hardware) transposing 117 transposing by octaves 117 transposing by semitones 117 U Undo 36 Update 176 USB 19, 21 User interface showing and hiding 32 using 219 V Velocity fixed 106 View switching 32 Views switching by keyboard shortcut 229 MASCHINE 1.
