MASCHINE MK3 MANUAL
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Table of Contents Table of Contents 1 2 Welcome to MASCHINE ............................................................................................. 23 1.1 MASCHINE Documentation .......................................................................................................... 24 1.2 Document Conventions ............................................................................................................... 25 1.3 New Features in MASCHINE 2.6.9 ...................................
Table of Contents 2.5 2.6 Stand-Alone and Plug-in Mode ................................................................................................... 61 2.5.1 Differences between Stand-Alone and Plug-in Mode ................................................. 61 2.5.2 Switching Instances .................................................................................................. 62 2.5.3 Controlling Various Instances with Different Controllers ...........................................
Table of Contents 3.1.2 3.2 Browsing the Library vs. Browsing Your Hard Disks ................................................... 105 Searching and Loading Files from the Library ............................................................................ 106 3.2.1 Overview of the LIBRARY Pane ................................................................................... 106 3.2.2 Selecting or Loading a Product and Selecting a Bank from the Browser .................... 111 3.2.3 3.2.2.
Table of Contents 3.6 4 3.5.3 The TYPES and MODES Pages .................................................................................... 153 3.5.4 The PROPERTIES Page ............................................................................................... 155 Loading and Importing Files from Your File System .................................................................... 156 3.6.1 Overview of the FILES Pane .............................................................................
Table of Contents 4.4 4.5 5 4.3.1 Creating Groups ........................................................................................................ 195 4.3.2 Loading Groups ......................................................................................................... 197 4.3.3 Renaming Groups ...................................................................................................... 198 4.3.4 Changing the Group’s Color .................................................
Table of Contents 5.5 5.6 5.7 6 5.4.2 Choke All Notes .......................................................................................................... 241 5.4.3 Groove ....................................................................................................................... 242 5.4.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller .................................... 244 5.4.5 Tap Tempo ...........................................................................
Table of Contents 6.1.2 First Plug-in Slot of Sounds: Choosing the Sound’s Role ........................................... 276 6.1.3 Loading, Removing, and Replacing a Plug-in ............................................................ 276 6.1.3.1 6.2 6.3 Browser Plug-in Slot Selection ...................................................................282 6.1.4 Adjusting the Plug-in Parameters ............................................................................. 285 6.1.
Table of Contents 7 Working with Patterns ............................................................................................... 320 7.1 7.2 7.3 7.4 Pattern Basics ............................................................................................................................ 320 7.1.1 Pattern Editor Overview ............................................................................................. 321 7.1.2 Navigating the Event Area .........................................
Table of Contents 7.5 Quantizing Events/Notes ........................................................................................... 379 7.4.8 Quantization While Playing ........................................................................................ 381 7.4.9 Doubling a Pattern .................................................................................................... 382 7.4.10 Adding Variation to Patterns ......................................................................
Table of Contents 8.1.1 Sending External Audio to Sounds ............................................................................. 431 8.1.2 Configuring the Main Output of Sounds and Groups ................................................. 436 8.1.3 Setting Up Auxiliary Outputs for Sounds and Groups ................................................. 441 8.1.4 Configuring the Master and Cue Outputs of MASCHINE ............................................. 445 8.1.5 Mono Audio Inputs ............
Table of Contents 9.2.6 Using the Cue Bus ..................................................................................................... 502 9.3 The Plug-in Chain ....................................................................................................................... 504 9.4 The Plug-in Strip ........................................................................................................................ 505 9.5 9.4.1 The Plug-in Header .................................
Table of Contents 10.3 10.4 10.5 10.2.6 Kick – Snappy ............................................................................................................ 541 10.2.7 Kick – Bold ................................................................................................................ 543 10.2.8 Kick – Maple .............................................................................................................. 545 10.2.9 Kick – Push ............................................
Table of Contents 10.6 10.7 The Percussions .......................................................................................................................... 590 10.6.1 Percussion – Fractal .................................................................................................. 592 10.6.2 Percussion – Kettle .................................................................................................... 595 10.6.3 Percussion – Shaker ...........................................
Table of Contents 13 Effect Reference ........................................................................................................ 645 13.1 13.2 13.3 13.4 Dynamics .................................................................................................................................... 646 13.1.1 Compressor ............................................................................................................... 646 13.1.2 Gate .............................................
Table of Contents 13.5 13.6 13.7 Delays ......................................................................................................................................... 695 13.5.1 Beat Delay ................................................................................................................. 695 13.5.2 Grain Delay ................................................................................................................ 698 13.5.3 Grain Stretch ............................
Table of Contents 14.3 14.2.2 Creating Scenes ........................................................................................................ 744 14.2.3 Assigning and Removing Patterns ............................................................................. 745 14.2.4 Selecting Scenes ....................................................................................................... 749 14.2.5 Deleting Scenes ........................................................................
Table of Contents 14.3.11 Clearing Sections ...................................................................................................... 785 14.3.12 Creating and Deleting Section Banks ........................................................................ 786 14.3.13 Enabling Auto Length ................................................................................................ 787 14.3.14 Looping ......................................................................................
Table of Contents 15.4.3.2 Delete All Slices .........................................................................................832 15.5 15.4.4 Manually Adjusting Your Slices ................................................................................. 832 15.4.5 Applying the Slicing ................................................................................................... 838 Mapping Samples to Zones .................................................................................
Table of Contents 16.3 Special Tricks ............................................................................................................................. 873 16.3.1 Changing Pattern Length for Variation ...................................................................... 873 16.3.2 Using Loops to Cycle Through Samples ..................................................................... 873 16.3.3 Using Loops to Cycle Through Samples .......................................................
Welcome to MASCHINE 1 Welcome to MASCHINE Thank you for buying MASCHINE! MASCHINE is a groove production studio that implements the familiar working style of classical groove boxes along with the advantages of a computer based system. MASCHINE is ideal for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instrument, the MASCHINE hardware controller, united with the advanced editing features of the MASCHINE software.
Welcome to MASCHINE MASCHINE Documentation 1.1 MASCHINE Documentation Native Instruments provide many information sources regarding MASCHINE. The main documents should be read in the following sequence: 1. MASCHINE Getting Started: This document provides a practical approach to MASCHINE via a set of tutorials covering easy and more advanced tasks in order to help you familiarize yourself with MASCHINE. 2.
Welcome to MASCHINE Document Conventions MASCHINE documents are available in PDF. You can also access these documents from the application’s Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized versions of these documents. 1.2 Document Conventions This section introduces you to the signage and text highlighting used in this manual.
Welcome to MASCHINE Document Conventions ▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display. ▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller. ▪ Important names and concepts are printed in bold.
Welcome to MASCHINE New Features in MASCHINE 2.6.9 1 2 3 4 5 6 7 8 1 2 3 4 5 6 7 8 The unlabeled buttons and knobs on the MASCHINE controller. For better reference, we applied a special formatting here: throughout the document, the elements are capitalized and numbered, so the buttons above the displays are written Button 1 to Button 8, while the knobs under the displays are written Knob 1 to Knob 8. E.g.
Basic Concepts Important Names and Concepts 2 Basic Concepts This chapter will reintroduce you to MASCHINE’s main elements and terminology and explain how they relate to one another. You will also learn how to set up your audio interface and how to connect MIDI devices. Before reading this chapter it is strongly recommended that you read the MASCHINE Getting Started first. 2.1 Important Names and Concepts We will start with a list defining the most important concepts and names.
Basic Concepts Important Names and Concepts Project A Project contains all data needed for a song: Groups with their Patterns, all Scenes and all settings, modulation, effects, routings, Sounds and Samples. It’s like a snapshot of the entire state of MASCHINE. Please read the MASCHINE Getting Started for a complete overview of the MASCHINE Project structure. Sound Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any number of Plug-ins.
Basic Concepts Important Names and Concepts Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Arranger view to create an arrangement. Refer to chapter ↑14.3, Using Arranger View for more information on Scenes. Section A Section is a reference to a specific Scene on the Timeline of the Arranger view.
Basic Concepts Adjusting the MASCHINE User Interface details on using effects in MASCHINE, refer to chapter ↑12, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑13, Effect Reference. Please refer to chapter ↑18, Glossary at the end of this Manual for more definitions! 2.2 Adjusting the MASCHINE User Interface The MASCHINE software user interface is very flexible.
Basic Concepts Adjusting the MASCHINE User Interface The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]). 2.2.2 Switching between Ideas View and Arranger View At any time you can quickly switch between the Ideas view and the Arranger view, using the Arranger View button. The Arranger View button in the top left corner. ► Click the Arranger View button to toggle between the Ideas view and Arranger view.
Basic Concepts Adjusting the MASCHINE User Interface For more information about Ideas view and Arranger view see ↑14.3, Using Arranger View. Switching between Ideas View and Arranger View using the Controller On your controller: ► Press SHIFT + SCENE to switch between the Ideas view and Arranger view. → The software switches between Ideas view and Arranger view. 2.2.3 ► Showing/Hiding the Browser Click the Browser button (with the magnifier symbol) in the Header to show and hide the Browser.
Basic Concepts Adjusting the MASCHINE User Interface Minimizing/maximizing the Mixer. 2.2.5 Showing/Hiding the Control Lane When MASCHINE is in Arrange view, you can show/hide the Control Lane under the Pattern Editor: ► Click the arrow button on the bottom left of the Pattern Editor to show and hide the Control Lane.
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. 2.3 Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations. 2.3.1 Using the 4-Directional Push Encoder The 4-Directional Push Encoder (referred to as the Encoder) combines the functionalities of a conventional joystick, of a button, and of a continuous encoder.
Basic Concepts Common Operations The Encoder situated to the left of the VOLUME, SWING and TEMPO buttons. Depending on the menu or context, the available actions differ: ▪ The displays are navigated by moving the 4-D encoder in a direction indicated by the surrounding LEDs. ▪ Entries in a list are browsed by turning the 4-D encoder. ▪ The value of a highlighted parameter is adjusted by turning the 4-D encoder. ▪ A selection is confirmed by pushing the 4-D encoder. 2.3.
Basic Concepts Common Operations ► To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN, etc.) + Button 1 above the left display. → Now the mode is always pinned when you select it. ► To unpin a mode (i.e. make it a temporary mode again), press its mode button + Button 1 again. → Now the mode will only be active as long as you hold the mode button.
Basic Concepts Common Operations ▪ Step Undo allows you to cancel your last single action. ▪ Take Undo allows you to cancel your last group of actions. Step Undo Step Undo/Redo is the classic undo/redo found in most applications. It cancels or re-executes each single action you have performed. In the software use the following keyboard shortcuts for the Step Undo and Step Redo functions: ► To cancel your last action (Step Undo), press [Ctrl]+[Shift]+[Z] ([Cmd]+ [Shift]+ [Z] on MacOS).
Basic Concepts Common Operations Undo/Redo on the Controller Both Step Undo and Take Undo are also available on your controller: ► On the MASCHINE hardware controller, perform the Take Undo operation by pressing SHIFT + pad 1 (UNDO). To perform the Take Redo operation, press SHIFT + pad 2 (REDO). ► On the MASCHINE hardware controller, perform the Step Undo operation by pressing SHIFT + pad 3 (STEP UNDO). To perform the Step Redo operation, press SHIFT + pad 4 (STEP REDO).
Basic Concepts Common Operations When you touch the Knob of that parameter, a list appears above the parameter on the display of your controller. This list shows you at a glance all possible values for the parameter you are touching along with the value currently selected, making the value selection much more intuitive. Touch the Knob under a selector (here the MODE parameter under the left display) to open a list with the values available for selection.
Basic Concepts Common Operations The zooming and scrolling functions are indicated, when available, by little icons that appear as overlays above the relevant Knobs as soon as you touch any of them. This way, in case of doubt, a simple touch on any Knob below the right display will indicate if some zooming and scrolling functions are available. When you touch any of the Knobs 5–8, little icons appear above the Knobs used for zooming/scrolling in the display. 2.3.
Basic Concepts Common Operations Setting the Focus on a Group ► To put a Group in focus, click this Group in the Group List of the Arranger: → The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group.
Basic Concepts Common Operations The focused Group is highlighted and the Pattern Editor show its content. If the desired Group does not appear in the Group List, use the scroll bar at the right end of the Arranger or turn your mouse wheel while hovering the Arranger to display any hidden Groups. You can also extend the Arranger by dragging its lower right corner vertically with the mouse. You can also select multiple Groups at once to apply changes to all of them. See section ↑4.1.
Basic Concepts Common Operations 1. Set the focus to the Group containing the desired Sound by clicking it in the Group List on the left of the Arranger (see above). The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group. 2. Click the desired Sound slot in the Sound List of the Pattern Editor: → The focused Sound slot is highlighted. The focused Sound slot is highlighted.
Basic Concepts Common Operations If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden Sounds. You can also select multiple Sounds at once to apply changes to all of them. See section ↑4.1.3, Selecting Multiple Sounds or Groups for more information. Focusing on a Group using the Hardware 1.
Basic Concepts Common Operations 2.3.7 Switching Between the Master, Group, and Sound Level At any time you can quickly switch the Control area between the parameters of the Master, the focused Group, and the focused Sound. Click the desired tab to switch the display of the Control area. ► Click the MASTER, GROUP or SOUND tab in the top left corner of the Control area to display the Plug-in parameters or Channel properties of the Master, the focused Group or the focused Sound, respectively.
Basic Concepts Common Operations 2.3.8 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area We describe here how to display/edit any Plug-in parameters or Channel properties located in any Sound, Group or the Master. To select a particular Plug-in or a particular set of Channel properties, you first need to display the parameters of the Master, the desired Group or Sound. 1.
Basic Concepts Common Operations 2. Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selector to select that set of Channel properties. → The selected button is highlighted and the parameters of the selected Channel properties appear in the Parameter area (the right and biggest part of the Control area). Selecting a Plug-in 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins: The icon lights up.
Basic Concepts Common Operations In the software the names of the available pages are displayed at the top of the Parameter area. The name of the page currently displayed is highlighted. ► Click the desired page name at the top of the Parameter area to show the corresponding Parameter page. The Parameter pages of the Sound’s Output properties: Audio (currently displayed), Aux, and MIDI.
Basic Concepts Common Operations Element Action Knob: Click the knob and drag your mouse vertically to change the parameter value. Hold [Shift] on your computer keyboard and drag your mouse to adjust the value in finer increments. Button: Click the button to switch its state. When the button is enabled, it shows a small colored LED. Selector: Click the displayed value to open the drop-down list, and click another value in the list to select it.
Basic Concepts Common Operations 5. Use the Page buttons left of the displays to navigate through the Parameter pages of the selected Channel properties or Plug-in: Moreover, if there is another page available to the left or to the right of the current page, the corresponding Page button will be half lit on your controller. 6. Use Knobs 1–8 under the displays to adjust the value of the parameters available on the selected page.
Basic Concepts Common Operations Using the Navigate Mode Alternatively, you can also navigate Channel properties and Plug-ins along with their Parameter pages via the Navigate mode of your controller: 1. Press SHIFT + VARIATION to enter Navigate mode (or pin it by pressing NAVIGATE + Button 1). 2. Press SHIFT, then Button 2 (PAGE NAV) to enter Page Navigation mode. 3.
Basic Concepts Common Operations ▪ The default Software Navigation mode lets you adjust the look of the software interface: You can show/hide specific elements and change zoom/scroll settings. ▪ The Page Navigation mode allows you to navigate Channel properties, Plug-ins along with their Parameter pages.
Basic Concepts Common Operations Action Shortcut Pattern Editor Scroll left/right Turn Knob 6 or press pad 1/3 Pattern Editor Scroll up/down (Keyboard mode only) Turn Knob 7 or press pad 8/4 You can quickly switch the software between Ideas view and Arranger view by pressing SHIFT + SCENE on your controller. The Page Navigation mode allows you to navigate the Parameter pages available in the Channel properties and Plug-ins of the various channels (Sounds, Groups, and Master) in your Project.
Basic Concepts Common Operations 2.3.9 Using Two or More Hardware Controllers If two or more MASCHINE controllers of different types (MASCHINE STUDIO, MASCHINE MK3, MASCHINE MK2, MASCHINE MIKRO MK2, MASCHINE, MASCHINE MIKRO, and MASCHINE JAM) are connected to your computer, only one controller can be used to control the MASCHINE software at a time. If you have more than one instance of the MASCHINE software running on your computer, you can control each instance with a different controller. See ↑2.5.
Basic Concepts Common Operations Click the MASCHINE menu and select the controller you want to use. Hardware On the controller you want to use with the MASCHINE software, do the following: ▪ MASCHINE (MK3) controller: Press SHIFT + PLUG-IN, turn the 4-D encoder to select the desired instance, and press the 4-D encoder or Button 4 to load it. ▪ MASCHINE STUDIO controller: Press SHIFT + PLUG-IN, turn the jog wheel to select the desired instance, and press the jog wheel or Button 8 to load it.
Basic Concepts Common Operations ▪ KOMPLETE KONTROL Keyboard MK1: Press INSTANCE and turn the Control encoder to select the desired instance, and press the Control encoder to load it. ▪ KOMPLETE KONTROL Keyboard MK2: Press INSTANCE and turn the 4-D encoder to select the desired instance, and press the 4-D encoder to load it. 2.3.10 Touch Auto-Write Option Modulation recording also benefits from the touch sensitivity of Knobs 1–8 via the Touch Autowrite option.
Basic Concepts Common Operations The Touch Auto-write check box in the Hardware page of the Preferences panel. ► To enable or disable the Touch Auto-write option, click the Touch Auto-write check box in the Touch-Sensitive Knobs section of the Hardware page in the Preferences panel. To access the Touch-Sensitive Knobs section in the Hardware page, your MASCHINE controller must be connected to your computer and controlling the MASCHINE instance.
Basic Concepts Native Kontrol Standard ▪ With Touch Auto-write disabled (and in previous MASCHINE versions), you have to constantly rotate the Knob to ensure that the old modulation events are actually replaced by the new ones. To simulate a new constant modulation value, you had no other choice than slightly rotate the Knob incessantly around the desired value.
Basic Concepts Native Kontrol Standard Installing KONTAKT Instruments with NKS Support Third-party developers of KONTAKT instruments provide you with a folder that contains all instrument files, including presets and samples. Instead of running an installer, this folder needs to be stored on the hard drive. The instrument can then be activated with Native Access, which also adds it to the MASCHINE and KOMPLETE KONTROL Libraries.
Basic Concepts Stand-Alone and Plug-in Mode 2.5 Stand-Alone and Plug-in Mode You can run the MASCHINE software as a stand-alone application or integrate it into your favorite host by loading it as a plug-in. The MASCHINE software is available in the VST, Audio Unit, and AAX plug-in formats. For further information on plug-in compatibility and for a detailed description of how to use plug-ins in your host, please refer to the documentation included with your host software. 2.5.
Basic Concepts Stand-Alone and Plug-in Mode On the contrary, When MASCHINE is used as a plug-in within a host application, the communication with your audio and MIDI interfaces is managed by the host — the MASCHINE plugin only communicates with the host. Native Instruments’ Online Knowledge Base provides how-tos that will help you route the MASCHINE plug-in to multiple tracks/outputs in the major hosts: ▪ How to route MASCHINE to multiple outputs in Ableton Live: http://www.native-instruments.
Basic Concepts Stand-Alone and Plug-in Mode ► To select your controller from a particular MASCHINE instance, click the Connect button in the MASCHINE Header of that instance. Click the Connect button to connect the controller to that instance. Switching Instances using the Controller To switch from one MASCHINE instance to another: 1. Press SHIFT + PLUG-IN. 2. Turn the 4-D encoder to select an instance. 3. Press the 4-D encoder to load that instance. 2.5.
Basic Concepts Preferences 2.6 Preferences The Preferences panel lets you specify various settings for MASCHINE. ► To open the Preferences panel, click Preferences… in the Maschine menu (MacOS) or File menu (Windows) of the Application Menu Bar, or in the File submenu of the MASCHINE menu: Preferences… in the File menu of the Application Menu Bar (Windows depicted), and in the File submenu of the MASCHINE menu. The following pages are available in the Preferences panel: ▪ General: see ↑2.6.
Basic Concepts Preferences ▪ Colors: see ↑2.6.8, Preferences – Colors Page. 2.6.1 Preferences – General Page The General page holds a few global settings. ► To display the General page click the General tab on the left of the Preferences panel. The Preferences – General page.
Basic Concepts Preferences Setting Description Startup Reload Last Project If this option is checked, the last Project you worked on will automatically load the next time you start MASCHINE. Recording Audio Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved. If not, your recordings will be saved in the generic Recordings folder in your standard user directory (see section ↑2.6.4, Preferences – Default Page).
Basic Concepts Preferences Setting Description Default MIDI Input Mode MASCHINE lets you play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound. In addition, you can select that a Sound receives no MIDI input, and also define the default setting for MIDI input by selecting the Default MIDI Input Mode preference.
Basic Concepts Preferences Setting Description Signature Selects the time interval between each tick of the metronome. By default the metronome indicates the beats (the quarter notes, 1/4). Here you can select another note value for the ticks. Count-in Length Adjusts the duration of the Count-in, i.e. how long the metronome will sound before the recording actually starts. Input Quantize The Input Quantization setting can be set to one of the following modes: None: Input Quantization is disabled.
Basic Concepts Preferences For more detailed information about Usage Data Tracking, please refer to the following Knowledge Base article on the Native Instruments website: https://support.native-instruments.com/hc/en-us/articles/209545029 To enable or disable Usage Tracking: 1. Open the General page of the Preferences by clicking Preferences… in the Maschine menu (MacOS) or File menu (Windows) of the Application Menu Bar, or in the File submenu of the MASCHINE menu. 2.
Basic Concepts Preferences For information on audio configuration and basic setup scenarios, please refer to chapter 1 of the MASCHINE MK3 Getting Started Guide available from the Native Instruments website. The Routing section allows you to configure the connections between the virtual inputs/outputs of MASCHINE and the physical inputs/outputs of your audio interface. ► To display the Audio page click the Audio tab on the left of the Preferences panel. Preferences – Audio page.
Basic Concepts Preferences Setting Description Interface Driver Select your audio driver here. Device This allows you to choose from the available devices if you have connected more than one audio interface. Status This shows you whether your audio interface is currently running. Sample Rate This displays the selected sample rate of your audio interface. Please restart MASCHINE after changing the sample rate.
Basic Concepts Preferences Setting Description Inputs By clicking Inputs, you can define which inputs on your audio interface should be used for the four stereo inputs of MASCHINE. Select the inputs of your audio interface on the right column by clicking the fields: you will be presented with a drop-down menu with all the available Inputs. The choices made here will determine which inputs can be used when sampling external sources, for example.
Basic Concepts Preferences The Preferences – MIDI page.
Basic Concepts Preferences Setting Description Sync Mode Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groovebox, or even another software sequencer.
Basic Concepts Preferences Setting Description Inputs Clicking Inputs displays a list of all the available MIDI inputs of your system. You can activate/deactivate each input by clicking the fields in the Status column, which displays the current status of the corresponding port. Outputs Clicking Outputs displays a list of all the available MIDI outputs of your system.
Basic Concepts Preferences The Preferences – Default page.
Basic Concepts Preferences Setting Description Project Standalone Here you can select a Project to load automatically when you start a new Project in MASCHINE used as a stand-alone application. The field displays the location of the Template Project selected for use. Click the folder icon to select another Template Project.
Basic Concepts Preferences Setting Description Duplicate Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated. The new Scene and Patterns are now completely independent from the originals. Link when duplicating Sections When enabled, the Duplicate command will create a linked copy of a Section.
Basic Concepts Preferences At the top of the page, the Factory and User buttons allow you to switch between the Factory pane and the User pane. Factory Pane ► To display the Factory pane, click the Factory button at the top of the Library page. The Preferences panel – the Library page’s Factory pane.
Basic Concepts Preferences The Factory pane shows all factory libraries available. These includes the MASCHINE Factory Library, libraries imported from other NI products, as well as installed MASCHINE EXPANSIONS. These libraries will appear in the Factory view of the Browser’s Library pane. Element Description Location column Shows the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path.
Basic Concepts Preferences The Preferences panel – the Library page’s User pane. The User pane shows all user libraries currently used. These include MASCHINE’s standard user directory as well as any other user directory you might have defined. These libraries will appear in the User view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Shows the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Alias column Shows the alias stored for each library. Click an alias to edit it. Defining aliases for your user folders is not mandatory, but it can be of great help when working on different computers (see description below).
Basic Concepts Preferences The User Content folder can neither be renamed nor removed from the list. You can modify its path in the Location column. Standard User Directory Cannot Be Removed The Standard User Directory can neither be renamed nor removed from the list in the User pane of the Library page in the Preferences panel. You can modify its path in the Location column.
Basic Concepts Preferences 1. Click CANCEL in the Updating Database dialog to interrupt the scan. A Cancel Rescan dialog opens up asking you to confirm that you want to cancel the scan: The dialog warns you that cancelling the scan may lead to inconsistencies or missing items in your MASCHINE Library. 2. If you still want to cancel the scan, click CANCEL RESCAN at the bottom right, and the scan will be cancelled. 3.
Basic Concepts Preferences Adding Folders to the User Library In the User pane of the Library page, you can add other folders to the user content of your MASCHINE Library. To do this: 1. Click Add at the bottom of the pane. A folder selection dialog opens up. 2. In the dialog, navigate to the desired folder on your computer and click OK (Choose on MacOS). → All MASCHINE-compatible files found in the selected folder are added to your user content in MASCHINE.
Basic Concepts Preferences Please note that the selected folder cannot contain, or be contained within, a folder already listed in the User or Factory pane. If MASCHINE detects such a folder as you press OK (Choose on MacOS) in the folder selection dialog, a Duplicate Location message appears: Click OK to return to the folder selection dialog and select another folder on your computer.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane.
Basic Concepts Preferences Element Description Plug-in column Lists all available VST/AU plug-ins from the directories specified in the Locations pane (see below). This includes all enabled or disabled 32-bit VST/AU plug-ins, when MASCHINE is running in 32-bit mode or otherwise all enabled or disabled VST/AU 64-bit plug-ins, when MASCHINE is running in 64-bit mode. On the left of each plug-in in the list, a checkbox allows you to enable/disable this plug-in in MASCHINE.
Basic Concepts Preferences Manager Pane: Use NI Audio Units Checkbox (MacOS Only) On MacOS, the Manager pane contains an additional Use NI Audio Units checkbox.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. The Locations pane also contains the following controls: Element Description Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon on the left of an entry to change the path of that plug-in directory. Add button Click Add to add plug-in directories.
Basic Concepts Preferences Element Description Remove button Click Remove to remove the selected directory. Rescan button If you have changed the content of a directory (such as installed or removed plug-ins), you should rescan your plug-in directories in order to keep the list of available plug-ins up to date.
Basic Concepts Preferences The Preferences panel – Hardware page.
Basic Concepts Preferences Setting Description Controller The Controller menu allows you to select a connected device and modify its settings. You can have two devices simultaneously focused on a MASCHINE instance: a controller from the MASCHINE family and a KOMPLETE KONTROL SSERIES keyboard. After a new device has been selected from the Controller menu, the Hardware page will update to display the available options.
Basic Concepts Preferences Setting Description Touch Auto-write Use the Touch Auto-write checkbox to enable or disable the Touch Auto-write option. Touch Auto-write can be very useful if you want to re-record modulation for a parameter, at a constant value. With Touch Auto-write enabled, you only need to keep a finger on a parameter Knob (1–8): The current modulation value is recorded as long as you touch the Knob, automatically replacing any old modulation events at the position in the Pattern.
Basic Concepts Preferences The Preferences panel – Colors page.
Basic Concepts Preferences Setting Description Scene Default Selects a default color for your Scenes. In the menu you can choose the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color. Group Default Selects a default color for your Groups. In the menu you can choose the desired color from the 16-color palette.
Basic Concepts Integrating MASCHINE into a MIDI Setup 2.7 Integrating MASCHINE into a MIDI Setup You can quickly integrate MASCHINE into a MIDI setup. You can use MIDI in MASCHINE in various ways. Notably: ▪ You can synchronize a MIDI Clock signal between MASCHINE and other MIDI devices: ↑2.7.2, Sync to External MIDI Clock and ↑2.7.3, Send MIDI Clock. ▪ If you connect a MIDI keyboard to the MIDI IN, you can directly play the focused Sound with it without having to set anything up.
Basic Concepts Integrating MASCHINE into a MIDI Setup 2. If MASCHINE is running as a stand-alone application, activate the corresponding MIDI input and/or output(s) of your MASCHINE controller in the MIDI page of the Preferences panel (see ↑2.6.3, Preferences – MIDI Page). 3. If MASCHINE is running as a plug-in in a host application, the MIDI configuration is managed by the host (see section ↑2.5, Stand-Alone and Plug-in Mode).
Basic Concepts Integrating MASCHINE into a MIDI Setup If you want to configure MASCHINE to react to other MIDI messages than MIDI Clock, in particular if you want to control MASCHINE notes and parameters via MIDI, please refer to section ↑8.2, Using MIDI Control and Host Automation, where this is described in detail. 2.7.3 Send MIDI Clock If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock.
Basic Concepts Syncing MASCHINE using Ableton Link 2.8 Syncing MASCHINE using Ableton Link Ableton Link is a protocol that synchronizes beat, phase and tempo of Link-enabled applications on the same computer or over a shared network. This means you can conveniently keep applications synchronized across different devices or join a group jam with others with minimal setup.
Basic Concepts Syncing MASCHINE using Ableton Link After clicking the Play button, playback will resume on the downbeat once the moving bar within the LINK button is filled. The first participant to join the session sets the initial tempo, from then on any participant in the session can change the tempo in their respective application. If multiple participants change the tempo at the same time, the last tempo change will take effect. To start or join a Link session, proceed as follows: 1.
Basic Concepts Using a Pedal with the MASCHINE Controller 2.9 Using a Pedal with the MASCHINE Controller Your MASCHINE MK3 Controller provides a pedal input in the form of 1/4" socket on its rear panel. The pedal input on the rear panel of your controller. The PEDAL socket allows you to use a pedal footswitch to control the transport in MASCHINE. A single footswitch with two pedals can be used to control the transport in the following way: ▪ Pedal 1: Starts/stop the playback in MASCHINE.
Basic Concepts File Management on the MASCHINE Controller To access File mode: ► Press the FILE button. → The File menu is displayed. All File menu options are explained in the table below. File Management Option Description NEW Creates a new Project file. If you already have a project open, you will be prompted to save or discard it, after which a new Project will be created. SAVE AS Allows you to save the current Project with an alternative name.
Browser Browser Basics 3 Browser The Browser is the place where you can organize and categorize all of your Projects, Groups, Sounds, Plug-in presets, and Samples. This is done by tagging them, which means categorizing them by using keywords. Given that the MASCHINE software has some advantages over the hardware in this case, such as a very big screen and a QWERTY-keyboard, we will start with the software first. 3.1 Browser Basics This section describes some general concepts about the Browser. 3.1.
Browser Browser Basics Note that the Library is the only other way to display and access your files: You could also navigate to the same files in your file system. The (substantial) difference lies in the fact that the Library organizes your files in a musically relevant way. Which Files are Included in the MASCHINE Library? The files included in the MASCHINE Library are all MASCHINE-relevant files found in the folders whose paths are listed in the Library page of the Preferences panel.
Browser Searching and Loading Files from the Library Click the desired tab to show the corresponding pane of the Browser. The LIBRARY pane is described in section ↑3.2, Searching and Loading Files from the Library, and the FILES tab is described in section ↑3.6, Loading and Importing Files from Your File System. 3.2 Searching and Loading Files from the Library The Browser’s LIBRARY pane allows you to search for any file in the MASCHINE Library.
Browser Searching and Loading Files from the Library 1 2 3 4 5 6 7 8 9 The elements of the LIBRARY pane. (1) LIBRARY tab: Click the LIBRARY tab to open the LIBRARY pane described here. (2) File Type selector: This contains six icons, each representing the different files types of MASCHINE. From the left to right the file types are Project, Group, Sound, Instrument preset, Effect preset, and Sample.
Browser Searching and Loading Files from the Library (3) Content selector: Click the NI icon (on the left) to select factory content or the User icon (on the right) to select user content instead. Only the files of the content selected here will be displayed in the Result list (8). See section ↑3.2.5, Choosing Between Factory and User Content.
Browser Searching and Loading Files from the Library ▪ For all files, click the EDIT button at the far right of the bar to open the Attribute Editor and modify the tags and properties assigned to the selected file(s). See section ↑3.5, Editing the Files’ Tags and Properties. Overview of the Search Workflow in the LIBRARY Pane When searching for files via the LIBRARY pane, you can progressively refine your search by following this typical top-to-bottom workflow. The first two steps are mandatory: 1.
Browser Searching and Loading Files from the Library The Browser on your controller. On the displays of your controller, the Browser is organized as follows: ▪ The left display allows you to narrow your search by selecting the file type, the content type (factory or user files), as well as a product category, a product, a bank, and a sub-bank. ▪ The right display allows to further refine your search by selecting the desired Type (and possibly Mode) tags. It also shows you the corresponding result list.
Browser Searching and Loading Files from the Library 1. Move the 4-D encoder left/right to select the field you want to select. The selected field is indicated by thin brackets: 2. Turn the 4-D encoder to change the value in the selected field. 3. Move the 4-D encoder up/down to scroll the Results list. 4. Press the 4-D encoder to make a selection from the Results list. 3.2.
Browser Searching and Loading Files from the Library Selecting a Product Category ► Click on the Product selector header to open it. → The Product selector opens up, showing you all products available in your MASCHINE Library. 1 2 3 The opened Product selector. (1) Product selector header: The header shows the selected product—if there is no selection it shows a generic label (All Instruments). Click on the header to close the Product selector.
Browser Searching and Loading Files from the Library ▪ Other If Vendor is selected in the Category / Vendor selector, the Product list is sorted by the names of the manufacturers. ► To select a product and show only the preset files associated with it, click on the product in the list. → Upon your selection, the Product selector automatically closes, the product name and icon appear in the header, and the tag filter and results list below will be filtered accordingly.
Browser Searching and Loading Files from the Library Selecting a Bank When you select specific products in the Product list (see description above), an additional Bank menu appears under the closed Product selector: The Bank menu showing All Banks for POLYPLEX The Bank menu allows you to select a particular bank of files for the selected product (POLYPLEX in the picture above).
Browser Searching and Loading Files from the Library ► To select a particular bank for the selected product, click the Bank menu under the product icon and choose a bank from the available entries. → Upon your selection the Bank menu closes and displays the selected bank. The tag filter and results list underneath further narrow their content accordingly. ► As with the product selection, you can remove the selected bank by clicking the little cross next to the bank name in the closed menu.
Browser Searching and Loading Files from the Library ► To load a product with its default preset file, place the mouse over the product entry in the Product selector and click on the arrow symbol that appears in the upper right corner of the product entry. → The product and the first preset from the results list for this product are loaded, and the result list only displays preset files only associated with this product. 3.2.2.
Browser Searching and Loading Files from the Library 3.2.2.2 Browsing by Product Vendor Using MASCHINE MK3 The MASCHINE Browser can filter your search by product category. To filter products by Category in the Browser using the controller: 1. Press BROWSER to show the Browser. 2. Press Button 2 to select a product. ⇨ The Browser now only displays instrument or effect plug-in presets depending on your choice. 3. Press and hold SHIFT to access the filters for CATEGORIES / VENDORS. 4.
Browser Searching and Loading Files from the Library Selecting a Product or a Product Category ► Click the Product selector to open it. → The Product selector opens up and displays the following: 1 2 3 The opened Product selector (for Instrument presets).
Browser Searching and Loading Files from the Library (1) Product selector header: The header shows the product or the selected product category — if there is no selection it shows a generic label (All Instruments in the picture above) corresponding to the type of file selected in the File Type selector above. Click the header to close the Product selector. (2) Product Category filter: Shows the categories of the products that have files available in the MASCHINE Library.
Browser Searching and Loading Files from the Library Resetting the Product Selection ► To reset the selection made in the Product selector, click the little cross at the right of the product name: → The product selection is cancelled. The Product selector displays the generic label corresponding to the selected file type (Project, Group, Sound, Instrument preset, Effect preset or Sample). The tag filter and the Result list under the Product selector now include files for all products.
Browser Searching and Loading Files from the Library ► To select a particular bank for the selected product, click the Bank menu under the product icon and choose a bank from the available entries. → Upon your selection the Bank menu closes and displays the selected bank. The tag filter and Result list underneath further narrow their content accordingly. Banks can be, e.g., additional libraries (e.g., MASSIVE EXPANSIONS), different versions of the original Factory Library (e.g.
Browser Searching and Loading Files from the Library ▪ When you save Projects, Groups or Sounds, they are automatically set to the Maschine product. ▪ When you save Instrument or Effect presets: ◦ Presets for Internal Plug-ins: The product is set to Maschine, while the bank is set to the particular Internal Plug-in for which the preset has been saved (e.g., Sampler, Kick, Flanger, etc.). ◦ Presets for Native Instruments Plug-ins: The product is set to the particular Native Instruments effect or instrument.
Browser Searching and Loading Files from the Library Selecting a product category, a product, a bank, and a sub-bank on your controller. Additionally the left display shows you the name and icon of all products corresponding to the selected product category (Knob 1). The selected product (Knob 2) is highlighted. If there are more than six products available, a scroll bar appears on the right of the left display. The display automatically scrolls to show the selected product.
Browser Searching and Loading Files from the Library (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Samples: (.wav, .aiff) ► Click the desired icon in the File Type selector to display only the files of that type in the Result list. → The selected icon is highlighted and the files are filtered accordingly.
Browser Searching and Loading Files from the Library ► At the top right of the left display, press Button 4 (USER) to browse the user content (button lit and USER label highlighted) or the factory content (button off and USER label not highlighted).
Browser Searching and Loading Files from the Library Tags for Projects, Groups, Sounds, and Samples: 3 Type Levels For Projects, Groups, Sounds, and Samples, tags are structured into three hierarchical levels globally called Types. You can select them via the TYPES filter: ▪ At first the TYPES filter displays the available top-level tags only. ▪ As soon as you select a tag at the top level, the second level appears underneath with subtags of the selected tag.
Browser Searching and Loading Files from the Library By selecting any of these tags, say, Acoustic, you will narrow your search to this particular Sub-Type of shakers: ▪ Now imagine that you have loaded an acoustic shaker Sample and want to find a Sample for another drum instrument, e.g., a tom: You leave the Drums tag selected at the top level of the TYPES filter and directly go to the second level, where you select Tom instead of Shaker.
Browser Searching and Loading Files from the Library Tags for Instrument and Effect Presets: 2 Type Levels and 1 Mode Level For Instrument and Effect presets, tags can be of two kinds: Type or Mode. You can select them via the TYPES and MODES filter, respectively: ▪ The TYPES filter works as described above for all other file types, except that only two hierarchical levels are available. See above for a detailed description.
Browser Searching and Loading Files from the Library ► Click the small triangle located to the left of the Attributes (TYPES or MODES). → The Attribute sections will collapse results will be shown depending on the amount of space available. Click the triangle again to reopen the sections. Highlighted triangle next to the Attributes (TYPES and MODES). 3.2.6.
Browser Searching and Loading Files from the Library ► Turn Knob 5–7 under the right display to select tags at the three levels of the tag filter. Turn a Knob at full left to remove any particular selection at this level (i.e. to select all items at this level). Selecting Type and Mode tags on your controller (here for Instrument presets). ▪ When browsing Projects, Groups, Sounds or Samples, Knob 5–7 allow you to select Type tags in the three hierarchical levels.
Browser Searching and Loading Files from the Library The left display, here when browsing Effects: Selecting the Creative Effects category via Knob 1 (on the left), the 2.0 Library bank via Knob 3 (in the middle), and all sub-banks via Knob 4 (on the right). Like in the software, each of these lists includes an All… entry at the top allowing you to deselect any selected item. Turn the corresponding Knob at full left to select this entry.
Browser Searching and Loading Files from the Library 3.2.8 Performing a Text Search In the Search field you can enter your search query. The Search field. ► Click in the Search field and type the desired text to limit the results to files containing this text. The search will be performed on the file paths, the file names, the products/banks/sub-banks, the tags, and the properties directly as you type. If you want to search for a combination of two words (e.g.
Browser Searching and Loading Files from the Library The Result list showing kicks from the MASCHINE Library. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. The Result list allows you to: ▪ Select the desired file(s). ▪ Load the selected file(s) into your Project (or load another Project). ▪ Delete the selected file(s) from your hard disk and from the Library. ▪ Navigate to the selected file(s) in your operating system.
Browser Searching and Loading Files from the Library You can also select multiple files in the Result list in order to process them all at once. To select adjacent files in the list, do the following: ► Hold [Shift] on your computer keyboard and click two files in the Result list to select these files and all files in-between. To select distant files in the list, do the following: ► Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select.
Browser Searching and Loading Files from the Library ▪ You can load the file into a Group or a Sound slot that is not currently focused, or into a Plug-in slot that is not selected. ▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new Zone will be created for that Sample. See section ↑15.5.7, Adding Samples to the Sample Map for more information. Drag and drop of Groups and Sounds is possible only in Arrange view.
Browser Searching and Loading Files from the Library ▪ When dragging several Instrument presets, you have the same options as when dragging several Sounds (see above). Each Instrument preset will be loaded into in its own Sound, and the Sound will take the name of the preset.
Browser Additional Browsing Tools 1. Right-click ([Ctrl]-click on macOS) the desired user file and select Delete from the context menu. If you want to delete several files at once, first select them as described above, and right-click ([Ctrl]-click on macOS) ([Ctrl]-click on macOS) any of them. A warning dialog opens to inform you that the file will be not only removed from the MASCHINE Library but also deleted from your hard disk. 2. Click OK to confirm the deletion (or Cancel to keep the file).
Browser Additional Browsing Tools The EDIT button (LIBRARY pane) or IMPORT button (FILES pane) at the far right of the Control bar allows you to edit the attributes of the files selected in the Result list above (in the FILES pane, these are the files being imported to the Library, whereas in the LIBRARY pane these are files already in the Library). Please refer to section ↑3.5, Editing the Files’ Tags and Properties for more information! 3.3.
Browser Additional Browsing Tools Autoload is not available when browsing Projects. Autoload is not available when browsing Samples with Prehear enabled — see section ↑3.3.3, Auditioning Samples. When Prehear is enabled, Button 5 and 6 select the previous/next Sample in the result list without loading it automatically. 3.3.2 Auditioning Instrument Presets When you are browsing Instrument presets, a Prehear button and Prehear Volume slider appear next to the Autoload button. The Prehear controls.
Browser Additional Browsing Tools Auditioning Instrument Presets using the Controller When browsing Instrument presets on your controller: ► Press SHIFT + Button 8 (PREHEAR) to enable/disable the Prehear function. When Prehear is enabled: ▪ The Instrument preset selected in the result list can be heard. ▪ Turn the 4-D encoder or Knob 8 to select the previous or next Instrument preset in the result list. Upon selection this Instrument preset is played back and the previous Instrument preset stops playing.
Browser Additional Browsing Tools When Prehear is enabled, you can directly hear Samples as you select them in the Result list of the LIBRARY pane or FILES pane. ► Drag the Prehear Volume slider next to the Prehear button to adjust the volume of the Samples you are pre-listening to. The Prehear signal is sent to the Cue bus of MASCHINE. This allows you to pre-listen to Samples on a distinct output pair (e.g.
Browser Additional Browsing Tools 3.3.4 Loading Groups with Patterns Every Group from the factory library includes a set of Patterns that illustrate possible uses of that Group. Similarly, when you save a Group of your own to the Library for later use, all Patterns you have created for that Group will be saved with the Group. When browsing Groups, you can choose to load each Group with or without its Patterns.
Browser Additional Browsing Tools Loading Groups with Routing using the Controller ► Press SHIFT + Button 3 (+ ROUTING) to include or exclude audio and MIDI routing when Groups are loaded. → When the option is enabled (Button 3 lit and + ROUTING label highlighted), Groups are loaded together with their audio and MIDI routing. 3.3.6 Displaying File Information The Information button.
Browser Using Favorites in the Browser 3.4 Using Favorites in the Browser Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently used items. This includes Projects, Groups, Sounds, Instrument presets, Effect presets, and Samples. Any of these items can be assigned as a Favorite. The Favorites serve as an additional filter in the Browser.
Browser Using Favorites in the Browser The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass.
Browser Using Favorites in the Browser 1. Click on the Filter Favorites control next to the search field to filter the results by Favorites: 2. The Filter Favorites control is now lit and the results list shows all Favorites that match the selected search criteria: Adding an Item to the Favorites List To add an item to the Favorites, follow the instructions below: 1. Place the mouse cursor over an entry in the results list to show the Set Favorite icon.
Browser Using Favorites in the Browser 2. Click on the Set Favorite icon to add the corresponding item to the Favorites. → The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name: You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set Favorites icon will appear as soon as you place the mouse cursor over the entry.
Browser Using Favorites in the Browser 1. Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. 2. The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view and add Favorites directly using your controller.
Browser Using Favorites in the Browser 2. Press the Button 7 to activate the Favorites filter. 3. To filter the list of Favorites, use knobs 5 to 8. → The Favorites filter is now activated and the results list shows all Favorites that match the search criteria: Adding an Item to the Favorites To add an item to the Favorites using follow the instructions below: 1. Press the BROWSER button. 2. Press Button 1 or 2 to select the type of item you want to set as a Favorite. 3.
Browser Editing the Files’ Tags and Properties → The item is added to the Favorites, indicated by the Favorite icon next to its name: Removing an Item from the Favorites To remove an item from the Favorites use the following instructions: 1. Press the BROWSER button. 2. Turn the Control encoder to select the item you want to remove from the Favorites list. 3. Press SHIFT + Button 7 to remove the selected item from the Favorites list. → The item is removed from the Favorites list. 3.
Browser Editing the Files’ Tags and Properties changes to the selected files, or click the lit EDIT button again to cancel you changes and close the Attribute Editor. See section ↑3.2, Searching and Loading Files from the Library for more information on the LIBRARY pane. ▪ When importing folders to the MASCHINE Library from the Browser’s FILES pane, clicking IMPORT at the bottom right of the Browser automatically opens the Attribute Editor so you can tag the files being imported.
Browser Editing the Files’ Tags and Properties You can adjust the overall height of the Attribute Editor by dragging its upper border. The number of items selected appears in yellow in the upper left corner of the Attribute Editor. Displaying Attributes of Factory Files When browsing in the LIBRARY pane, if the files selected in the Result list are factory files (i.e.
Browser Editing the Files’ Tags and Properties 3.5.3 The TYPES and MODES Pages The TYPES and MODES pages display and let you modify the tags assigned to the file(s) selected in the Result list above. ▪ The TYPES page is available for all file types when opening the Attribute Editor both from the LIBRARY pane and the FILES pane.
Browser Editing the Files’ Tags and Properties Displaying Tags ▪ In both TYPES and MODES pages, tags assigned to the selected files are marked with a check mark right of their name: ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right. In each column only one tag can be selected. The selected tag is highlighted: Assigning Tags ► Click the empty check box right of the desired tag name to assign this tag to the selected files.
Browser Editing the Files’ Tags and Properties In the TYPES page, if you uncheck a tag for which some Sub-Type tags were selected in the columns on the right, these will automatically unassigned as you unassign their parent tag. Creating New Tags You can also create your own tags both in the TYPES and MODES pages: ► To create a new tag in any column, click the “+” symbol at the bottom of the column, enter the desired tag name with your computer keyboard and press [Enter] to confirm.
Browser Loading and Importing Files from Your File System ▪ Vendor: Use this field to indicate the manufacturer of the selected files. Click the downpointing arrow on the right to quickly select any Vendor attribute already in use in other files of the Library. ▪ Author: Use this field to indicate the author of the selected files. Click the down-pointing arrow on the right to quickly select any Author attribute already in use in other files of the Library.
Browser Loading and Importing Files from Your File System 1 2 3 4 5 6 The elements of the FILES pane. (1) FILES tab: Click the FILES tab to open the FILES pane described here. (2) Favorite bar: Displays all your Favorites. Click any Favorite to directly jump to that particular path and display its content in the Result list (5). See section ↑3.6.2, Using Favorites. (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system.
Browser Loading and Importing Files from Your File System (4) Recent Locations button: Click this button to see a list of the last visited locations and quickly jump any of them. See section ↑3.6.4, Navigating to Recent Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the Location bar (3). Only MASCHINE-compatible files are displayed. See section ↑3.6.5, Using the Result List.
Browser Loading and Importing Files from Your File System ► Click any Favorite in the Favorite bar to jump to that location. → The selected location is loaded in the Location bar and its content appears in the Result list.
Browser Loading and Importing Files from Your File System The Location bar provides following tools: ▪ Up arrow: Click the Up arrow on the left to go one level up in your file system.
Browser Loading and Importing Files from Your File System The last 10 locations you have visited are stored by MASCHINE and available here: ► Click the Recent Location button and select any recently visited location from the list. → This location is loaded in the Location bar and its content displayed in the Result list. 3.6.5 Using the Result List The Result list of the FILES pane shows the files and folders found in the path loaded in the Location bar above (see section ↑3.6.
Browser Loading and Importing Files from Your File System In front of each file, an icon indicates the type of the file: Icons for various file types. Navigating Your File System in the Result List You can further browse your file system in the Result list by opening any of the displayed folder: ► Double-click a folder to display its content.
Browser Loading and Importing Files from Your File System Loading Files from the Result List You can load files from the Result list using the same methods as in the Result list of the LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section ↑3.2.9, Loading a File from the Result List. Additional Features in the Result List ► Right-click ([Ctrl]-click on macOS) any entry in the Result list to open a context menu with additional commands.
Browser Loading and Importing Files from Your File System Command Description Sort by Name Sorts the Result list according to the item names. Sort by Date Sorts the Result list according to the item dates. 3.6.6 Importing Files to the MASCHINE Library Apart from the huge MASCHINE factory library, you might want to use your own samples or any MASCHINE files you received from other users. As described previously, you can load them directly from the FILES pane. If this can come in handy, e.g.
Browser Loading and Importing Files from Your File System 3. Select the desired folder as described above. 4. Click the IMPORT button at the bottom right of the Browser. You will be presented with the Attribute Editor. 5. In the Attribute Editor, tag the files you are about to import to the Library as described in section ↑3.5, Editing the Files’ Tags and Properties. 6. When you are done, click OK at the bottom right of the Browser to import the files to the Library.
Browser Locating Missing Samples ◦ If Samples reside in a subfolder of this subfolder, the name of the lower subfolder will be used as sub-bank. 3.7 Locating Missing Samples If you are loading a MASCHINE Project and one or more referenced Sample(s) cannot be found for any reason, a dialog in which you can locate the missing Samples will appear. The Missing Sample dialog allows you to locate missing Samples. Sounds referencing missing Samples are marked with an exclamation mark.
Browser Locating Missing Samples Locating or Purging Missing Samples at a Later Time When Sample references cannot be resolved, two additional Purge Missing Samples and Find Missing Samples appear in the context menu of the affected Sound(s) in the Sound List. The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing. ► Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound.
Browser Using Quick Browse 3.8 Using Quick Browse Quick Browse is a feature that allows you to quickly recall a search query you performed to get to a given file. Let’s say you have loaded a kick Sample after browsing the Library, then loaded a snare Sample to another Sound slot and now you realize you are not satisfied with that kick Sample, but you heard a nice kick Sample just before you chose the current one.
Browser Using Quick Browse ▪ Quick Browse for Instrument/Effect presets and for Samples: Click the magnifying glass in the upper right corner of the Control area to recall the search query that was used for the Plugin in the selected slot: ◦ If a Sampler Plug-in is selected, it will recall the search query used for the Sample loaded in that Sampler. If several Samples are loaded in the Sampler, it will recall the search query for the Sample in the selected Zone in the Zone List.
Browser Using Quick Browse Quick Browse from Control Mode on the Controller From your controller you can easily access Quick Browse for Samples and Plug-in presets directly from Control mode: 1. Press PLUG-IN to enter Control mode and access your Plug-ins. 2. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want to recall the search query — see section ↑2.3.6, Focusing on a Group or a Sound and ↑2.3.7, Switching Between the Master, Group, and Sound Level. 3.
Browser Using Quick Browse 5. Turn the 4-D encoder to select the desired Plug-in preset or Sample from the list, and press the 4-D encoder to load it. → The selected file replaces the previous file in your Project. Quick Browse from Browse Mode on the Controller You can also access Quick Browse from the Browser on your controller. This notably allows you to perform Quick Browse on Sounds and Groups as well: 1. Press PLUG-IN to enter Control mode. 2.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 4 Managing Sounds, Groups, and Your Project This chapter explains how to handle the various objects that structure any MASCHINE Project: Sounds, Groups, and the Master. 4.1 Overview of the Sounds, Groups, and Master In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to the highest: ▪ Sounds are played by the pads. They are loaded into Sound slots.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 1 2 The Sound List (1) and the Group List (2) in the Arrange view of the software. 4.1.1 The Sound, Group, and Master Channels From a routing point of view, each Sound, each Group, and the Master represents a distinct channel in MASCHINE. The channels of the 16 Sounds in a Group are mixed together and sent to the Group channel, where their sum will be processed by the Group’s Plug-ins, if any.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master When the software is in Mix view, Sounds, Groups, and the Master are represented by channel strips in the Mixer. This view provides you with an intuitive control on both the audio and MIDI routings of any Sound, Group, and the Master. Please refer to section ↑9.2, The Mixer for more information. The Mixer displaying the channel strips for all Sounds in a Group. 4.1.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound slots between other slots containing Sounds), depending on how you prefer to play your Sounds from your pads. You cannot create Sound slots, but instead you can load/unload Sounds to/from the 16 existing Sound slots in each Group.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ The selection, on the other hand, determines what will be affected by your actions (e.g., adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the Sound List) is implicitly selected — nothing special here: This just means that the Sound whose parameters are currently displayed will be indeed affected by the changes you do on these parameters.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ If you set the focus to a Sound or Group which is already included in the current selection, the focus is moved to this new Sound or Group but the selection is preserved. This notably allows you to check the parameters of any selected Sound or Group while keeping the ability to modify parameters for the entire selection.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the common keyboard shortcuts of your operating system: in the Sound List or the Pad view for Sounds, and in the Group List for Groups. Following actions are available: Action Function Selecting Objects (Sounds or Groups) Click unselected object Selects the object and sets the focus to it.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ► Press and hold SELECT to enter Select mode. You can also press SELECT + Button 1 to pin this mode and make it permanent. → You are ready to select more than one Sound or Group. Selecting Sounds and Groups via the Select mode. You have following selection tools at your disposal: Selection Tool Description Pads Press any pad to set the focus to that particular Sound slot.
Managing Sounds, Groups, and Your Project Managing Sounds Selection Tool Description Button 6 (NONE) Deselects all Sounds in the current Group except the focused Sound. Button 8 (MULTI) Enables/disables the multiple selection mode. Toggling this option does nothing to the current focus nor selection but changes the behavior of the selection process — see below.
Managing Sounds, Groups, and Your Project Managing Sounds The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button. ► Click the Pad View button to show or hide the Pad view. → The Pad view replaces the Sound List on the left of the Pattern Editor. In the Pad view, each cell represents a pad on your controller and corresponds to a Sound slot in the current Group.
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑3.8, Using Quick Browse for more information. 4.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the software.
Managing Sounds, Groups, and Your Project Managing Sounds ► Press SELECT + the pad containing the desired Sound. → The Sound is focused without being triggered. 4.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s or Sample’s name. You can also rename Sound slots manually.
Managing Sounds, Groups, and Your Project Managing Sounds 1. Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List or in the Pad view and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Sound is highlighted. 2. Select the desired color in the Palette. You can also choose to set the Sound back to the default color corresponding to its position in the list by selecting Default in the Color Palette.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ If the selected Sounds have the same color setting (a particular color or the default color), this color is highlighted in the Color Palette. ▪ If the selected Sounds have different color settings, no setting is highlighted in the Color Palette. When you select a new color setting from the Color Palette it is applied to all selected Sounds. By default Sounds inherit the color of their Group.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save from the context menu: → Your modifications are saved to the Sound file. Even if you don’t save a Sound individually, its current settings will still be saved with your Project. But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and Projects.
Managing Sounds, Groups, and Your Project Managing Sounds 1. Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save As… from the context menu: A Save Sound dialog appears. By default, the Sound file inherits the name of its Sound slot and it will be saved in your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.4, Preferences – Default Page for more information). 1.
Managing Sounds, Groups, and Your Project Managing Sounds In the software, Sounds are copied without their note content in the Pattern. To include the note content in the copying operation, use DUPLICATE on your controller (see below)! To copy and paste Sounds in the software: 1. Right-click (on macOS: [Ctrl]-click) the Sound slot (in the Sound List or in the Pad view) containing the Sound you want to copy. 2. In the context menu, choose Copy to copy the Sound. 3.
Managing Sounds, Groups, and Your Project Managing Sounds The copying procedure for multiple Sounds is as follows: When you copy a selection of Sounds, they are both placed into the clipboard and kept in the Sound List. The pasting procedure for multiple Sounds is as follows: ▪ When you paste a selection of Sounds onto a Sound slot, the pasted Sounds replace the current Sound in that slot and in the following slots — if the last Sound slot is reached, the remaining copied Sounds won’t be pasted at all.
Managing Sounds, Groups, and Your Project Managing Sounds 2. If you want to duplicate a Sound including its Pattern content, enable the +EVENTS option (Button 5). 3. Press the pad of the Sound you want to copy. The pad of the Sound starts blinking. 4. Press the pad of the target Sound slot (this can also be in another Group, in this case first press the desired Group button).
Managing Sounds, Groups, and Your Project Managing Sounds 2. While holding the mouse button, drag your mouse toward the desired location in the Sound List or in the Pad view. As the mouse cursor moves an insertion line appears at the potential places where you can drop the Sound slot(s). 3. When the insertion line appears at the desired location in the Sound List or in the Pad view, release the mouse button. → Each Sound takes its new place in the Group.
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.8 Resetting Sound Slots Resetting a Sound slot will remove the Sound it contains and put all its settings (Channel properties, name, color…) back to their default values. You can select multiple Sound slots to reset them all at once! See ↑4.1.3, Selecting Multiple Sounds or Groups for more information.
Managing Sounds, Groups, and Your Project Managing Groups → 4.3 The Sound is removed from the pad and the pad turns off. Managing Groups This section describes the global editing functions available for Groups.
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit. 4.3.1 Creating Groups Creating a Group will add a new empty Group at the end of the Group List. You can then fill this Group with the Sounds of your choice.
Managing Sounds, Groups, and Your Project Managing Groups Creating Groups on Your Controller On your controller, existing Groups are indicated by the lit Group buttons A–H: ▪ The focused Group is indicated by the fully lit Group button. ▪ The other Groups of your Project are indicated by half-lit Group buttons, each Group button showing the color of the corresponding Group.
Managing Sounds, Groups, and Your Project Managing Groups 4.3.2 Loading Groups You can load a readymade Group from the Browser or from your operating system. The Group can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Group you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Groups ▪ You can browse your MASCHINE Library for the desired Group. For more information on how to do this, please refer to section ↑3.2, Searching and Loading Files from the Library. ▪ Alternatively you can recall the search query that was used to find the Group currently loaded in the focused Sound slot. See section ↑3.8, Using Quick Browse for more information. 4.3.
Managing Sounds, Groups, and Your Project Managing Groups 1. Right-click ([Ctrl]-click on macOS) the desired Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Group is highlighted. 2. Select the desired color in the Palette.
Managing Sounds, Groups, and Your Project Managing Groups 4.3.5 Saving Groups You can save your Groups as individual files (extension “.mxgrp”). This can be only done in the software.
Managing Sounds, Groups, and Your Project Managing Groups You cannot save changes to factory files — these files are read-only. If you run the Save command on a factory file, it automatically turns into the Save As… command: a Save Group dialog opens and lets you save your modified Group to your user library. See next paragraph for more details. The same happens with Groups you have built from scratch.
Managing Sounds, Groups, and Your Project Managing Groups The Group will be added to the Library and is ready to be tagged in the Browser — see section ↑3.5, Editing the Files’ Tags and Properties for more information on this. You can also save a Group together with all the Samples used in this Group. This can be useful to use a drum kit on another computer or share it with other users. See section ↑4.4.1, Saving a Group with its Samples for more information. 4.3.
Managing Sounds, Groups, and Your Project Managing Groups 3. Right-click (macOS: [Ctrl]-click) any Group in the Group List and select Paste from the context menu to replace that Group with the copied one. If you want to paste the Group without affecting the existing Groups, first click the “+” under the last Group to create a new empty Group and paste the Group there. → All parameters of the Group will be copied. The Group previously in that position in the Group List will be replaced.
Managing Sounds, Groups, and Your Project Managing Groups ▪ When you paste a selection of Groups onto an existing Group, the pasted Groups replace that Group and the following Groups. Example: If you paste the Groups A1 and B1 onto the Group E2, the duplicates of A1 and B1 will replace the Groups E2 and F2, respectively (if, say, F2 didn’t exist it is automatically created).
Managing Sounds, Groups, and Your Project Managing Groups 4. Press the Group button of your target Group (this can also be in another Group bank, in this case first press Button 3/4 to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white Group button after the last colored Group button to create the new Group and automatically paste the copied Group there.
Managing Sounds, Groups, and Your Project Managing Groups 3. When the insertion line appears at the desired location, release the mouse button. → The Group takes its new place in the Group List. This new place is also mirrored on the pads of your controller. 4.3.8 Deleting Groups Deleting a Group will remove it from the Group List. It is not possible to have a Project without any Groups; attempting to delete the last remaining Group in a Project will simply reset the Group to the default values.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Deleting a Group. Deleting a Group on Your Controller On your controller in Control mode, do the following to delete a Group: ► To delete a Group, hold SHIFT + ERASE and press the Group button of the Group you want to delete. → The Group is removed. All following Groups are shifted left to fill the gap. 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 4.4.1 Saving a Group with its Samples Sometimes it is useful to have the ability to save a Group with its Samples outside of the MASCHINE Library. If you want to take a Group to another studio or if you want to backup or share a custom drum kit with all the related files, this comes in handy. To save a Group with its Samples: 1.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Controls Description Group Displays the name and location of the Group file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Group file inherits the name of the Group in the Project and it will be saved in the “Groups” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 1. Choose Save Project with Samples… from the File menu or the File submenu in the MASCHINE menu: You will be presented with the Save Project with Samples panel: 2. In this panel, adjust the settings (see table below) and click Save to confirm or Close to cancel the operation.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Project Displays the name and location of the Project file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Project file inherits the name of the Project and it will be saved in the “Projects” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑2.6.4, Preferences – Default Page for more information).
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 2. Choose Export Arrangement as Audio… from the File menu or from the File submenu in the MASCHINE menu. You will be presented with the Export Arrangement as Audio panel (see picture below). 3. In the Export page of the Export Arrangement as Audio panel, select the source(s) and the destination (see description below). 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Export page of the Export Arrangement as Audio panel.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Source Output menu and Output list underneath Selects what will be exported. The content of the Output list under the menu depends on your selection in the menu: Master Output: Select this to export the Master output signal (including all Groups and Sounds and their effects) to one audio file. The Output list underneath contains only one entry: Master Output.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Folder Displays the folder on your hard disk where the exported audio file(s) will be saved. To change the destination folder, click the field and select the desired folder in the navigation dialog that opens. Name In this field the name of the destination audio file is displayed. The file will by default take the name of the Project.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Following parameters are available: Element Description Options Normalize If this option is checked, the resulting audio file(s) will be normalized, i.e. the exported audio will be brought to the highest possible level without clipping (0 dBFS). Loop Optimize Loop Optimize optimizes the exported audio file for use as a loop: If Loop Optimize is disabled, the exported audio file will be prolonged to keep, e.g.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Selects from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz. Bit Depth Selects from three different bit depths (or bit resolutions) for the exported audio file(s): 16 Bit is the bit depth of the audio CD format. 24 Bit is well suited for mastering.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 4.5 Importing Third-Party File Formats 4.5.1 Loading REX Files into Sound Slots 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. → The Samples are loaded into the Sound slot.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Supported Parameters from MPC Programs Since MASCHINE has a different approach to handling and naming parameters, please refer to this list to find out how MPC Program settings are being translated into MASCHINE settings.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Importing MPC Program Files 1. To import an MPC Program file, open the Browser in the MASCHINE software and click the FILES tab. 2. Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel: 3. In the Input section of the panel, select one of the import options (see table below). 4.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Control Description Import All Banks Select this to import all Banks of the MPC Program file. Each Bank will be loaded into a separate Group. Import One Bank Select this if you only want to import a single Bank. Use the drop-down menu to the right to select which Bank you want to import. The list below shows you a preview of the sounds in the selected MPC Bank.
Playing on the Controller Adjusting the Pads 5 Playing on the Controller This chapter describes the numerous features available in MASCHINE to adjust and enhance your playing, both during live performances and when recording Patterns. 5.1 Adjusting the Pads You can optimize and fine-tune the way the pads of your controller react to your playing: ▪ Choose a pad mode that best fit your playing needs: ↑5.1.1, The Pad View in the Software.
Playing on the Controller Adjusting the Pads When the Pad View button is enabled, the Pad view replaces the Sound List below: The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group. The focused pad is fully lit; other pads containing a Sound are dim lit; pads without any Sound are off. The following actions are available in the grid: ▪ Click any pad to select the corresponding Sound slot.
Playing on the Controller Adjusting the Pads Parameter Description Key Adjusts the base key for the selected pad. See section ↑5.1.3, Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section ↑5.1.4, Using Choke Groups below. Link Configures Pad Link for the selected pad. See section ↑5.1.5, Using Link Groups below. 5.1.2 Choosing a Pad Mode By default, your pads play all Sounds of the selected Group — we call this Group mode.
Playing on the Controller Adjusting the Pads If your controller is in Group mode (default mode), the right display contains a mapping matrix showing the name and color of the Sound played by each pad. You can adjust the base key for the selected pad by pressing buttons 5-8. Parameter Description OCTAVE-, OCTAVE+, SEMITONE-, and SEMITONE+ (Button 5–8) Adjust the base key for the selected pad. See section ↑5.1.3, Adjusting the Base Key for details.
Playing on the Controller Adjusting the Pads focused Sound). The pitch of the played note is defined by the base key (see section ↑5.1.3, Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT + FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using the Keyboard Mode The KEYBOARD button located above the pads activates and deactivates Keyboard mode. In this mode your pads play the focused Sound at 16 different pitches.
Playing on the Controller Adjusting the Pads Activating Keyboard mode on your controller automatically switches the Pattern Editor to Keyboard view in the software, and inversely. To shift the scale in octaves use Button 5 (octave down) or Button 6 (octave up). You can also shift the scale in semitones: use Button 7 (semitone down) and Button 8 (semitone up). Of course all these settings stay active when you press PAD MODE again to leave Pad Mode.
Playing on the Controller Adjusting the Pads 5.1.3 Adjusting the Base Key In Group mode, the base key defines the key (or pitch) at which the selected Sound will be played when its pad is pressed. In Keyboard mode, it defines the key played by pad 1 on your controller; pads 2–16 will then play keys from [base key + 1 semitone] up to [base key + 15 semitones]. The base key also affects the pitch of events created via the step sequencer. See section ↑7.3.1, Step Mode Basics for more information on this.
Playing on the Controller Adjusting the Pads Sound slots 1 to 4 are selected. If they have different Key values, a MULTI label appears (left). When you drag it (middle), a transpose value appears (right) that will be applied to all selected Sounds when you will release the mouse button. This is also true when adjusting the parameter from your controller. To change the base key of the selected pad(s) / Sound slot(s) on your controller: 1.
Playing on the Controller Adjusting the Pads ▪ If the pad is set to Master (default setting) it will kill the Sounds of other pads in the same Choke group. ▪ If the pad is set to Slave it won’t kill any other pad of the Choke group — but be killed by pads set to Master within the same group. You may set more than one pad as Master or Slave within the same group.
Playing on the Controller Adjusting the Pads Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left). When you click it and select a new Choke from the list (middle), this new group is applied to all selected Sounds. This is also true when adjusting the parameter from your controller. To assign the selected pad(s) / Sound slot(s) to a Choke group and set its/their Choke mode on your controller: 1.
Playing on the Controller Adjusting the Pads 5.1.5 Using Link Groups When your pads are in Group mode, Link groups allow you to link pads with each other: this can be used to trigger multiple Sounds when pressing only one pad. Each pad of a Group can be assigned to one of eight Link groups. A pad may be set as a Master or Slave in the Link group: ▪ If the pad is set to Master (default setting) it will trigger other pads in the same Link group.
Playing on the Controller Adjusting the Pads A Link group makes sense only if more than one pad/Sound are assigned to it! Adjusting the Link Parameter for Multiple Sounds with different Link Values ► Click the MULTI label next to Link and select the desired value from the list to set all selected Sounds to that same Link group. This also applies to the Master/Slave setting next to it. Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left).
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds 4. Turn Knob 4 (LINK MODE) to select the Link mode from MASTER (default setting) or SLAVE for that pad. 5. Release PAD MODE (or press it again if you pinned the mode). 5.2 Adjusting the Key, Choke, and Link Parameters for Multiple Sounds In the software, if you select multiple Sounds with different Key, Choke and/or Link values, the corresponding parameters in Pad view now display MULTI.
Playing on the Controller Adjusting the Base Key Adjusting the Choke or Link Parameter for Multiple Sounds with different Choke or Link Values ► Click the MULTI label next to Choke or Link and select the desired value from the list to set all selected Sounds to that same Choke or Link group, respectively. This also applies to the Master/Slave setting next to it. Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left).
Playing on the Controller Playing Tools Adjusting the base key only affects the notes played by the pads of your controller. It does not affect the notes recorded in your Patterns! To adjust the key of notes in Patterns, please refer to section ↑4.1.3, Selecting Multiple Sounds or Groups. You can select multiple pads and quickly change the base key for all of them at once! See section ↑7.4, Editing Events to know how to do this.
Playing on the Controller Playing Tools ▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑5.4.1, Mute and Solo. ▪ Choke All Notes allow you to cut all playing audio: ↑5.4.2, Choke All Notes. ▪ Groove allows you to give a shuffling flair to individual Sounds/Groups or to your entire Project: ↑5.4.3, Groove. ▪ Hardware Shortcuts give you a quick access to the most important parameters of each channel (Sound, Group, and Master): ↑5.4.
Playing on the Controller Playing Tools To momentarily mute all audio from all Sounds and Groups at once, please refer to section ↑5.4.2, Choke All Notes. Mute and Solo in the Software Soloing a Sound ► To solo a Sound, right-click (on macOS: [Ctrl]-click) the number on the left side of the Sound slot in the Pattern Editor. Soloing the first kick Sound. ► To unsolo a Sound, right-click (on macOS: [Ctrl]-click) the number again.
Playing on the Controller Playing Tools Muting a Sound ► To mute a Sound, click the number on the left side of the Sound slot in the Pattern Editor. Muting a Sound. ► To unmute the Sound, click the number again. By default, the Mute on Sounds is an event mute: events for muted Sounds are not triggered, but the audio coming from previous events might still be audible (reverb tail, etc.).
Playing on the Controller Playing Tools ► To unmute the Group, click the Group index again. Mute and Solo on Your Controller To enter solo mode on your controller: The Solo mode on the controller. 1. Press and hold SOLO to enter Solo mode. You can also press SOLO + Button 1 to pin this mode and make it permanent. 2. Solo Sounds by pressing their pads, and solo Groups of the current Group bank by pressing their Group buttons.
Playing on the Controller Playing Tools 2. Mute Sounds by pressing their pads, and mute Groups of the current Group bank by pressing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group bank, respectively. In both Solo and Mute modes you will note the following: ▪ On your controller, the unmuted pads and Group buttons are fully lit, while the muted ones are dim lit (and the empty ones are off).
Playing on the Controller Playing Tools ► Press SHIFT + MUTE to choke all playing notes. Choke All Notes can be useful in various situations: ▪ as a creative tool in a live performance, e.g. to create stutter beaks, ▪ as a workflow aid, to stop long one-shot Samples that still continue playing after you have stopped the sequencer, ▪ as a first panic button, if you are not sure where in your Project a particular sound is coming from, and you want to get rid of it.
Playing on the Controller Playing Tools The Groove properties for a Sound in the software. The Groove properties for a Sound on the controller. Controls Description SWING Section Amount Adjusts the amount of swing, i.e. the amount by which some events are shifted. At 0 % events are not shifted. Raise the Amount value to increase the strength of the swing. Cycle Determines on what musical resolution the groove is applied. This directly affects which events will be shifted.
Playing on the Controller Playing Tools The following picture shows you how this rhythm would sound with the following settings: ▪ Top: Amount at 0.0 % (no groove). ▪ Middle: Amount at 100.0 % and Invert off. ▪ Bottom: Amount at 100.0 % and Invert enabled. This is how the same regular rhythm would be heard with various groove settings.
Playing on the Controller Playing Tools Volume and Velocity Shortcuts The VOLUME button. In Pad Mode, Keyboard mode or Chords mode: 1. Press the VOLUME [Velocity] button. 2. To change the output level of the Master (i.e. the overall output level of MASCHINE), simply turn the 4-D encoder. 3. To change the output level of a Group, hold its Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4.
Playing on the Controller Playing Tools In the software you can also adjust the output level of the Master via the Master Volume slider in the Header: The Master Volume slider in the software’s Header. To reset the output level of the Master to 0 dB, double-click the Master Volume slider. Swing and Position Shortcuts The SWING button. In Pad Mode, Keyboard mode or Chords mode: 1. Press SWING [Position] button. 2. To change the groove of the Master, simply turn the 4-D encoder. 3.
Playing on the Controller Playing Tools 1. To change the position of a selected step in Step mode, hold its pad and turn the 4-D encoder. → The adjusted value is temporarily shown on the left display. To adjust the value in finer increments, press and turn the 4-D encoder (or hold SHIFT while you turn it). These shortcuts control the AMOUNT parameter in the SWING page of the Master’s, Group’s, and Sound’s Groove properties, respectively. See section ↑5.4.
Playing on the Controller Playing Tools 2. To change the tempo of the Master (i.e. the tempo of your Project), simply turn the 4D encoder. 3. To change the tune of all Sounds in a Group, hold the desired Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder. 4. To change the tune of an individual Sound, hold its pad and turn the 4-D encoder. In Step mode: 1. To change the tune of a selected step in Step mode, hold its pad and turn the 4-D encoder.
Playing on the Controller Performance Features You can also use the TAP button to adjust the current tempo: ► Press the TEMPO button and turn the 4-D encoder to quickly adjust the tempo of your Project. Press and turn the 4-D encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled. These shortcuts control the Tempo parameter of MASCHINE. In the software this parameter is available in the Header: The Tempo parameter in the software’s Header. 5.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode. In this picture, blue cells represent modules sending “control” signals, i.e. triggering messages (e.g.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Group Mode The following diagram illustrates signal flow between your hits on the pads in Group mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Group mode. In this picture you will notice the following: ▪ Note Repeat takes the place of the Scale, Chord, and Arp modules between the live input on the pads and the Pattern Editor.
Playing on the Controller Performance Features 5.5.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano according to, e.g., the minor pentatonic scale without hitting a “false” pad (note) on your controller, or to play chords that always fit by hitting single pads.
Playing on the Controller Performance Features ▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g., key switches) on particular keys, these notes will not be triggered by the Scale and Chord engine. Available Scales The Scale engine is controlled via two parameters: ▪ Root Note (C3 by default): Defines both the root note of the scale and the particular key triggered by pad 1. As a direct consequence, pad 1 always triggers the root note of the selected scale.
Playing on the Controller Performance Features Scale Type Degrees (1 = Root Note) Minor Pentatonic 1 ♭3 4 5 ♭7 Blues 1 ♭3 4 #4 5 Japanese 1 2 ♭3 5 ♭6 Freygish 1 ♭2 3 4 5 ♭6 ♭7 Gypsy 1 2 ♭3 #4 5 ♭6 7 Flamenco 1 ♭2 3 4 5 ♭6 7 Altered 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 Whole Tone 1 2 3 #4 #5 #6 Half-Whole Diminished 1 ♭2 #2 3 #4 5 6 ♭7 Whole-Half Diminished 1 2 ♭3 #3 #4 #5 6 7 ♭7 By default, the Chromatic scale is selected — in other terms, by defau
Playing on the Controller Performance Features ◦ Chord Set: This special mode maps a set of chords onto the first 12 pads of your controller. These chords are not bound to any scale type, they are only affected by the selected Root Note. Use the Chord Type parameter to choose a particular set of chords to be mapped onto the pads (see below). In this mode, only the pad you actuate flashes. ▪ Chord Type: Selects which chords will be mapped to your pads.
Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Diminished 7 3, 6, and 9 Augmented 4 and 8 Quartal 5, 10, and 15 Trichord 5 and 11 When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic, the chords are bound to the particular notes included in the specified scale.
Playing on the Controller Performance Features Note that if Chord Mode is set to Harmonizer, pads triggered as part of the chord will also flash.
Playing on the Controller Performance Features ▪ If Chord Mode is set to Off, the notes with the pitch corresponding to the pressed pad are deleted. ▪ If Chord Mode is set to Harmonizer, only the notes with the pitch of the pressed pad are deleted. The other notes in the triggered chord are not deleted. ▪ If Chord Mode is set to Chord Set, no notes are deleted, in other words erasing is disabled. 5.5.
Playing on the Controller Performance Features ▪ The Note Repeat / Arp engine detects and makes use of any changes in the pressure you apply on each single pad you hold (Polyphonic Aftertouch). This allows you to generate arpeggios and repeated notes with varying velocities! ▪ The output of the Note Repeat / Arp engine is recorded into the Pattern Editor. ▪ The Note Repeat / Arp parameters cannot be modulated nor automated in MASCHINE.
Playing on the Controller Performance Features Note Repeat mode seamlessly switches to Arp mode as soon as you switch your pads from Group mode to Keyboard mode (see below): All current values (including the LOCK state) are retained. Pads in Keyboard mode: Arp If your pads are in Keyboard mode, pressing NOTE REPEAT switches your controller to Arp mode: The Arp mode on your controller.
Playing on the Controller Performance Features Element Description GATE RESET (Button 4) Press this button at any time to reset the GATE parameter to its default value of 100%. Button 5–8 Selects between four different presets, even during playing. Each preset can store particular values for the TYPE; RATE, UNIT, SEQUENCE, and OCTAVES parameters at the bottom of the displays (see below).
Playing on the Controller Performance Features Element Description SEQUENCE (Knob 5) Allows you to add interesting rhythms to your arpeggiated notes. Select one of eight different sequences and apply it to the arpeggio you are playing. Select Off to use the default regular sequence. OCTAVES (Knob 6) Adjusts the spread of the arpeggiated sequence.
Playing on the Controller Using Lock Snapshots The applied swing is not recorded in the Pattern Editor. For an overview of the signal flow starting from your pads, have a look at the diagrams in section ↑5.5.1, Overview of the Perform Features. For example, when you play live beats on top of a running Pattern, you can use Note Repeat without destroying the Pattern’s groove: the repeated notes will be processed using the same swing parameters as the playing Pattern.
Playing on the Controller Using Lock Snapshots 2. Press LOCK to take a snapshot. ⇨ The LOCK button is highlighted to indicate a single snapshot has been taken. You are now free to change parameters or Mute and Solo settings, safe in the knowledge you can recall your snapshot. 3. Press LOCK to recall the snapshot. → The Lock snapshot is recalled and the LOCK button ceases to be highlighted. You can access your snapshot in Extended Lock mode. For more information on Extended Lock read ↑5.6.
Playing on the Controller Using Lock Snapshots 3. Select the pad containing the snapshot you want to update. If necessary, press Button 7 or 8 to access a Lock snapshot from another bank. ⇨ The selected snapshot will illuminate to indicate it is in focus. 4. Press the LOCK button to exit Extended Lock view. 5. Adjust the settings on your controller until you are ready to update the snapshot. You can use button 5 and 6 to switch between Channel parameters and Plug-in parameters. 6.
Playing on the Controller Using Lock Snapshots 3. Turn knob 1 to turn the MORPH setting on. 4. Adjust the Morph mode and time to your requirements. A description of each mode is described in the table below. → As you switch between your snapshots a controlled transition from one to another at the selected time rate can be heard. Element Description MORPHING MORPH Select to switch morphing ON or OFF mode. MODE TRAVEL will morph the selected snapshots without syncing to the grid.
Playing on the Controller Using Lock Snapshots 5. Press the pad containing the snapshot you want to clear. The snapshot is cleared. 5.6.7 Triggering Lock Snapshots via MIDI If MASCHINE is running as a plug-in in a host environment, you can trigger and change Lock snapshots using MIDI Note or MIDI Program Change messages sent from your host to the MASCHINE plug-in.
Playing on the Controller Using Lock Snapshots Enabling the MIDI Lock Change To enable or disable the MIDI Lock Change feature, do the following: 1. In the MASCHINE Header, click the cog wheel icon. 2. Click MIDI Change. 3. ⇨ This opens the following dialog: ⇨ Click Lock Enabled from the dialog. 4. In the submenu that opens, select the source you want to use for changing the MIDI Program Change messages.
Playing on the Controller Using the Smart Strip 5. Then select MIDI Note to trigger your Lock snapshots via MIDI notes, or Program Change to trigger your Lock snapshots via MIDI Program Change messages. 6. If necessary, reopen the same submenu and select the MIDI channel the Lock changes should receive MIDI messages from (channel 1 by default). MIDI Scene change has priority over Lock change.
Playing on the Controller Using the Smart Strip 5.7.1 Pitch Mode In Pitch mode, sliding your finger on the Smart Strip “bends” the pitch of the notes you play on the pads, i.e., it detunes the sound by a certain amount. If you have used the pitch bend wheel on a synthesizer or standard MIDI keyboard before, you are probably familiar with the effect. In Pitch mode, the scale on the Smart Strip is centered, as indicated by a white LED in the middle of the Smart Strip.
Playing on the Controller Using the Smart Strip 1. Press the PLUG-IN button. 2. Select the Group (A-H) you want to apply the effect to. 3. Open the Perform FX page on the controller by pressing SHIFT + PERFORM. 4. Select a Perform FX mode from the Mode menu by turning Knob 1, and letting go of the knob when the effect you want to use is highlighted in the list. 5. Press PERFORM to enable Perform mode. 6. Slide a finger on the Smart Strip to control the parameter the Smart Strip is mapped to.
Working with Plug-ins Plug-in Overview 6 Working with Plug-ins Plug-ins are the building blocks of all sound in MASCHINE. They can be used at all three levels of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master. This chapter includes various general or specific Plug-in topics: ▪ An overview of Plug-ins and how to handle them (↑6.1, Plug-in Overview).
Working with Plug-ins Plug-in Overview The Control area displaying the content of the Sound Kick Ordinance of the selected Sound slot 1. Sounds, Groups, and the Master can each hold any number of Plug-ins. These are stacked up in the Plug-in List, on the left of the Control area.
Working with Plug-ins Plug-in Overview ► To show the Plug-in List, click the little Plug-in icon at the far left of the Control area: In the Plug-in List, the processing order is always from top to bottom. In addition to Plug-ins, each Sound, each Group, and the Master also provide a set of global settings called Channel properties. These are described in section ↑5.4.3, Groove and in chapter ↑8, Audio Routing, Remote Control, and Macro Controls.
Working with Plug-ins Plug-in Overview Instrument Plug-ins Effect Plug-ins Internal Plug-ins Sampler, Drumsynths MASCHINE internal effects Native Instruments Plug-ins VST/AU instrument plug-ins from Native Instruments’ range of products VST/AU effect plug-ins from Native Instruments’ range of products External Plug-ins Third-party VST/AU instrument plug-ins Third-party VST/AU effect plug-ins ▪ Instruments: These Plug-ins generate sound.
Working with Plug-ins Plug-in Overview ◦ External: You can also use VST/AU effect plug-ins from any third-party manufacturers. What to Load, and Where The type of Plug-in that you can load depends on the selected level (Sound, Group or Master) and slot: ▪ Effect Plug-ins (both internal and external) can be loaded in all Plug-in slots at all levels (Sound, Group, Master). ▪ Instrument Plug-ins (both internal and external) can only be loaded in the first Plug-in slot of Sounds. 6.1.
Working with Plug-ins Plug-in Overview area above. The Control area will now show the content (Channel properties or Plug-ins) of the Sound we have just selected. 2. At the far left of the Control area, click the little plug icon to display the Plug-ins. This displays the Plug-in List on the left of the Control area: The Plug-in List is still empty, because we selected an empty Sound slot. The only visible element in the list is a “+” icon at the top left.
Working with Plug-ins Plug-in Overview 3. Click the slot with the “+” icon at the top of the Plug-in List. This opens the Plug-in menu where you can select the desired Plug-in for loading (see below for a detailed description of the entries contained in the Plug-in menu). → Upon your selection the selected Plug-in sits at the top of the Plug-in List, in the first Plug-in slot of the Sound (in our example).
Working with Plug-ins Plug-in Overview A few Plug-ins loaded. This down-pointing arrow lets you open the Plug-in menu for slots already hosting a Plug-in. ► In the Plug-in List, click the down-pointing arrow at the right of a Plug-in name to open the Plug-in menu for that slot. You can also right-click ([Ctrl]-click on macOS) the Plug-in name in the slot.
Working with Plug-ins Plug-in Overview → The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap. Furthermore, the Plug-in menu also allows you to replace the loaded Plug-in with another one: ► To replace the Plug-in currently loaded in a slot, open its Plug-in menu and select another Plug-in in the menu. → The original Plug-in is replaced with the newly selected one. The rest of the Plug-in List stays untouched.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Native Instruments submenu Lists available Native Instruments’ Instruments (first Plug-in slot of Sounds only) and Effects. For products working both as Instrument and Effect, the Effect Plug-in name is followed by the mention FX. If necessary each entry is followed by the plugin type between brackets: (VST) or (AU). See section ↑6.2.6, Page 6: Velocity / Modwheel for more information.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Paste Loads into the current slot the Plug-in and all its settings that were cut or copied from another slot. This notably allows you to use a Plug-in in different locations (Sounds, Groups, Master) with the same settings. Preset Management Open… Allows you to open a Plug-in preset you have previously saved. Save As… Allows you to save the current Plug-in settings as a preset for later use. This preset will appear in the Browser.
Working with Plug-ins Plug-in Overview → The focus slot can be selected from the browser. 6.1.3.2 Loading, Removing, and Replacing a Plug-in on your Controller On the controller, do the following: 1. At the top left of your controller, press the PLUG-IN button to enter Control mode and display the Plug-in slots of the selected Sound, Group or the Master. 2. Select the Sound, Group or the Master where the Plug-in is located (see section ↑2.3.6, Focusing on a Group or a Sound). 3.
Working with Plug-ins Plug-in Overview If the selected Plug-in slot was not empty, the previous Plug-in will be replaced with the new Plug-in. Instead of using the Plug-in Browser, you can also use the common Browser to load a particular preset for a Plug-in (see section ↑3.2, Searching and Loading Files from the Library). Inserting a Plug-in To insert a Plug-in directly after the selected Plug-in slot, do the following: 1. Press SHIFT + Button 3 (INSERT).
Working with Plug-ins Plug-in Overview Replacing a Plug-in ► To replace a Plug-in, simply select its slot and load a new Plug-in as described above. You can also recall the search query that was used to find the Plug-in preset currently loaded in the Plug-in slot (see section ↑3.8, Using Quick Browse for more information). 6.1.4 Adjusting the Plug-in Parameters The procedure for adjusting the Plug-in parameters is common to all types of Plug-ins and all sets of Channel properties.
Working with Plug-ins Plug-in Overview 2. If you want to bypass a Plug-in of a Group, click the desired Group on the left of the Arranger, and click the GROUP tab in the top left corner of the Control area. 3. If you want to bypass a Plug-in of a Sound, click the Group of its parent Group in the Arranger, click the desired Sound slot on the left of the Pattern Editor, and click the SOUND tab in the top left corner of the Control area. 4.
Working with Plug-ins Plug-in Overview 4. If you want to bypass a Plug-in of a Sound, press Button 3 to select the SOUND tab, select its parent Group as described in the previous step, and press SELECT + the pad of that Sound (or simply hit its pad if pads are in Group mode). 5. Press Button 5/6 to select the desired Plug-in slot. The name of the selected Plug-in appears in the field between the left and right arrows under Button 5 and 6. If there are no Plug-ins in the channel this will read EMPTY. 6.
Working with Plug-ins Plug-in Overview 6.1.7 Moving Plug-ins MASCHINE allows you to move Plug-ins across the Plug-in List and across Sounds and Groups. Moving Plug-ins Within the Plug-in List ► To move a Plug-in in the Plug-in List, click its name and drag your mouse vertically. While you are holding the mouse button, an insertion line appears at the place in the Plug-in List where the Plug-in would land if dropped.
Working with Plug-ins Plug-in Overview 5. In the Plug-in menu that opens, select Paste. → The Plug-in with all its parameters has now been moved from its original location to its target location.
Working with Plug-ins Plug-in Overview The MASCHINE file format for Native Instruments plug-ins allows you to save a preset in the format native to the plug-in and freely exchange files between the plug-in instrument in standalone mode, MASCHINE, and KOMPLETE KONTROL. To use this feature you must ensure all installed Native Instruments plug-ins are up-todate. Please check Service Center or log-in to your Native Instruments account to find the latest updates. 6.1.9.
Working with Plug-ins Plug-in Overview The commands for saving and recalling Plug-in presets in the Plug-in menu. Plug-in Menu Entry Description Save Saves your changes to the preset currently loaded. Save As… Saves the current Plug-in settings as a new preset on your hard disk. Save As Default… Saves the current settings and assignments as the default preset for the Plug-in. This default preset will be loaded with this Plug-in the next time it is opened.
Working with Plug-ins Plug-in Overview 6.1.9.2 Recalling Plug-in Presets All Plug-in presets you saved using the Plug-in menu are available in the Browser, both in the software and from your controller. You can find each Plug-in preset automatically placed in the corresponding “Instrument” or “Effect” category in the File Type selector of the Browser’s LIBRARY pane. Furthermore, user presets are available when selecting the User content in the Content selector of the Browser’s LIBRARY pane.
Working with Plug-ins The Sampler Plug-in 2. Click the Plug-in drop-down menu. 3. Click Remove Default Preset in the menu to remove the default preset. → The default plug-in preset is removed and the plug-in will load with its initialized settings next time it is opened. You can also use the Plug-in Manager in the Preferences panel to gain an overview of your default plug-in presets and also remove them if required. Removing the default preset for a plug-in is a software only feature. 6.
Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑7.5, Recording and Editing Modulation and ↑8.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dialog will appear and help you locate the missing Sample(s) again. Please refer to section ↑3.7, Locating Missing Samples for more information.
Working with Plug-ins The Sampler Plug-in 6.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller. Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software. Parameter Description VOICE SETTINGS Polyphony Here you can define a voice limit for the Sound, that is the maximum number of voices (notes) the Sampler can play simultaneously.
Working with Plug-ins The Sampler Plug-in Parameter Description Glide If Legato is selected for the Polyphony parameter, this allows to adjust the duration of the transition between consecutive notes. Pitchbend Here you can adjust how the Sound reacts on incoming MIDI Pitchbend messages from an external MIDI controller or your host application. For more information on how to setup your Sounds to receive MIDI, refer to section ↑8.2.1, Triggering Sounds via MIDI Notes. ENGINE Mode 6.2.
Working with Plug-ins The Sampler Plug-in Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software. Parameter Description PITCH / GATE Tune Defines the basic pitch of your Sample: turn the knob to the right for a higher pitch and to the left for a lower pitch. Start Determines the start point of the Sample. This parameter can also be modulated by the Velocity control, see ↑6.2.5, Page 5: LFO. Reverse If Reverse is activated, the Sample will be played backwards.
Working with Plug-ins The Sampler Plug-in ▪ One-shot: This is typical vintage drum machine behavior: the sample is played in its entirety from beginning to end with no envelope. If One-shot is selected, the AMPLITUDE ENVELOPE section doesn’t display any parameters. ▪ AHD: AHD mode disables the Sustain and Release controls of the ADSR envelope (see below), and replaces them with the Hold parameter.
Working with Plug-ins The Sampler Plug-in Parameter Description AMPLITUDE ENVELOPE Attack (AHD and ADSR) Attack determines how quickly the Sound reaches full volume after being triggered. Hold (AHD only) Hold determines how long the envelope will stay at its maximum level. Decay (AHD and ADSR) Decay determines how fast the envelope drops to the Sustain level in ADSR mode; in AHD mode, it is used to adjust how fast the Sound dies down.
Working with Plug-ins The Sampler Plug-in Sampler parameters – page 3 of 6: FX and FILTER in the software. FX This is a small selection of basic effects, not to be mixed up with the collection of Effect Plugins covered in depth in chapter ↑13, Effect Reference. Parameter Description FX Comp Basic compressor allowing you to give a Sound more density. Drive Defines the amount of saturation applied to a Sound.
Working with Plug-ins The Sampler Plug-in Filter Modes Description BP2 BP2 is a band-pass filter with a Cutoff parameter. Cutoff can be modulated by Velocity, the Modulation Envelope, the LFO or the MIDI Modulation Wheel. HP2 HP2 is a high-pass filter with Cutoff and Resonance parameters. Cutoff can be modulated by Velocity, the Modulation Envelope, the LFO or the MIDI Modulation Wheel. EQ The EQ is an equalizer with Frequency, Bandwidth and Gain parameters. 6.2.
Working with Plug-ins The Sampler Plug-in MODULATION ENVELOPE The MODULATION ENVELOPE section offers an additional envelope allowing further modification (or “modulation”) of specific Sampler parameters according to the way you play on the pads. Its parameters are matched to those of the AMPLITUDE ENVELOPE section on page 2 (see ↑6.2.
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Drive Drive parameter of the FX section on the FX / Filter page (page 3). Pan Pan parameter on the Audio page of the Sound’s Output properties (see ↑8.1.2, Configuring the Main Output of Sounds and Groups for more information). 6.2.5 Page 5: LFO Sampler parameters – page 5 of 6: LFO and DESTINATION on the controller. Sampler parameters – page 5 of 6: LFO and DESTINATION in the software.
Working with Plug-ins The Sampler Plug-in LFO Controls Description Type Here you can choose the shape of the LFO waveform. Available shapes are Sine, Tri (Triangle), Rect (Rectangle), Saw, and Random. Speed Controls the rate of the LFO measured in hertz (Hz). If you choose to synchronize the Speed by activating Sync, it will show note values instead of hertz. Phase Defines the initial phase of the LFO waveform, from -0.50 to 0.50.
Working with Plug-ins The Sampler Plug-in 6.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller. Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters.
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Positive values shift the Sample start position later in time as you play harder, negative values shift it closer to the beginning of the Sample as you play harder. Tip: a typical example for this parameter is setting it so that the initial attack transient of a snare drum is heard only at high velocity values.
Working with Plug-ins Using Native Instruments and External Plug-ins 6.3 Using Native Instruments and External Plug-ins MASCHINE allows you to load VST/AU plug-ins from Native Instruments (Native Instruments Plug-ins) or any third-party manufacturer (External Plug-ins) and to use them like the MASCHINE Internal Plug-ins.
Working with Plug-ins Using Native Instruments and External Plug-ins MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8). When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little diagonal arrow appears left of the Parameter pages’ tabs, at the top of the Control area: The little diagonal arrow next to the Parameter pages’ tabs.
Working with Plug-ins Using Native Instruments and External Plug-ins You can also close any floating window via the common button provided by your operating system at the top left or right corner of the window. MASCHINE will always show the open floating windows of the focused Sound, Group or Master when selected.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil icon) in the Plug-in Header: Opening/Closing Plug-in Windows on the Controller On the controller, to open/close a floating window for a Native Instruments or External Plug-in do the following: 1.
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The current state of the Plug-in parameters can be saved to the Browser as a preset for total recall of the Plug-in (see section ↑6.1.9, Saving and Recalling Plug-in Presets for more on this). An auto-mapped Parameter page of the Massive Plug-in in the software. An auto-mapped Parameter page of the MASSIVE Plug-in on the controller.
Working with Plug-ins Using Native Instruments and External Plug-ins Parameter pages may be assigned automatically using auto-mapping (see section ↑6.3.2, Using the VST/AU Plug-in Parameters above) or created individually via Learn mode. With Learn mode, you can create custom pages containing only the desired parameters arranged to fit your personal workflow.
Working with Plug-ins Using Native Instruments and External Plug-ins 3. Click the Pages tab in the left part of the Assignment area: → The Pages tab lights up and the Pages pane appears on its right. You are now ready to assign parameters to the Parameter pages. The Pages tab can be clicked only for Native Instruments or External Plug-ins and for the Macro properties.
Working with Plug-ins Using Native Instruments and External Plug-ins (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parameter page. (2) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new page. By default, pages are labeled “Page 1,” “Page 2,” etc. You can change page labels by defining sections within your pages via the Section Label fields (3) — see below.
Working with Plug-ins Using Native Instruments and External Plug-ins Parameter Slots - Context Menu When the Assignment area is opened and the Pages tab is selected, a right-click on an assigned or unassigned Parameter slot’s label brings up a context menu. The parameter slots’ context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Learn Activates the Learn Mode. Reset Reset the Macro.
Working with Plug-ins Using Native Instruments and External Plug-ins Pages Name - Context Menu When the Assignment Area is opened and the Pages tab is selected, a right-click on a Page name at the top of the Parameter area opens a context menu. The Parameter pages’ context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 6.3.
Working with Plug-ins Using Native Instruments and External Plug-ins Accessing Factory Presets of Native Instruments’ Instruments/Effects Accessing factory presets of your Native Instruments instruments and effects is straightforward: factory presets of all Native Instruments instruments/effects installed on your computer are already integrated into the MASCHINE library! You will find them directly in the Browser by selecting the corresponding file type (Instruments or Effects) in the File Type selector, t
Working with Plug-ins Using Native Instruments and External Plug-ins This submenu provides the list of all presets that your VST/AU plug-in has made available to the host — MASCHINE in this case. 3. Select the desired preset in this submenu. → The preset is loaded into the Plug-in. Each VST/AU instrument or effect might handle its presets (or patches, programs…) differently. Please refer to the plug-in documentation to find out how to reveal its presets (or a particular set of presets) to the host.
Working with Plug-ins Using Native Instruments and External Plug-ins Saving VST/AU Presets as MASCHINE Plug-in Presets Once you have loaded a VST/AU preset (user preset of a Native Instruments instrument/effect or any preset of a third-party VST/AU instrument or effect) using the method described above, you can save it as a Plug-in preset in MASCHINE via the Save As… or Save As Default… commands of the Plug-in menu (see section ↑6.1.9, Saving and Recalling Plug-in Presets).
Working with Patterns Pattern Basics 7 Working with Patterns Creating a Pattern is where the fun starts, because the sequencer really is the core of MASCHINE. Both your controller and the software provide you with many powerful tools to create and edit your own beats. This chapter is organized as follows: ▪ General points on Patterns and the Pattern Editor: ↑7.1, Pattern Basics. ▪ How to record Patterns in real time from your controller: ↑7.2, Recording Patterns in Real Time.
Working with Patterns Pattern Basics In every Scene of your Project you can choose for each Group which of its Patterns has to be played. In each Scene the Pattern you have chosen will be referenced by a Clip (more on this in chapter ↑13.6.3, Saturator). 7.1.1 Pattern Editor Overview The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software. This overview of the Pattern Editor introduces you its main parts and control elements.
Working with Patterns Pattern Basics (3) Sample Editor button: Click this button to switch between the Pattern Editor and the Sample Editor. The Sample Editor is covered in chapter ↑13, Effect Reference. (4) Sound List: Sound slots 1–16 of the selected Group are listed here. In Keyboard view (2), click a Sound slot to display its events in the Event area (7). (5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view.
Working with Patterns Pattern Basics (10) MIDI and Audio Dragger: The MIDI Dragger and the Audio Dragger allow you to conveniently drag and drop MIDI or audio from your Patterns to your desktop or host software, respectively. See section ↑7.8.1, Exporting Audio from Patterns and ↑7.8.2, Exporting MIDI from Patterns for more information. (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modulation and the MIDI/host automation of each parameter. See section ↑7.
Working with Patterns Pattern Basics ▪ The Step mode allows you to record Patterns (including modulation) in the step sequencer: ↑7.3, Recording Patterns with the Step Sequencer. ▪ The Event Select mode allows you to select the desired events: ↑7.4.3, Selecting Events/ Notes. ▪ The Event Edit mode lets you edit the selected events: ↑7.4.4, Editing Selected Events/ Notes. ▪ The Grid mode lets you adjust the Step Grid: ↑7.1.7, Adjusting the Step Grid and the Nudge Grid.
Working with Patterns Pattern Basics 1 2 3 4 5 6 7 8 The Pattern Arrange mode in the controller displays: Keyboard view (top) and Group view (bottom).
Working with Patterns Pattern Basics ◦ Above the arrangement overview, you see the name of the Project, the focused Group or the focused Sound (depending on which of the MASTER, GROUP or SOUND tab is selected in the software’s Control area) along with the current tempo and playback position. ▪ The right display provides a detailed view of a portion of your Pattern: ◦ The name of the selected Pattern is indicated at the top of the display (6).
Working with Patterns Pattern Basics ▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑7.7.8, Duplicating, Copying, and Pasting Patterns). ▪ Press Button 5 (EVENTS) to access Event Edit mode, which allows you to precisely adjust the selected events (see section ↑7.4.4, Editing Selected Events/Notes).
Working with Patterns Pattern Basics 2 1 3 The zooming scroll bar at the bottom of the Pattern Editor. Use the horizontal zooming scroll bar as follows: ▪ Click the main part (1) of the scroll bar and hold the mouse button, then: ◦ Drag your mouse horizontally to scroll through the Event area on the time axis (common scroll bar behavior). ◦ Drag your mouse vertically to zoom in or out of the Event area on the time axis.
Working with Patterns Pattern Basics When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch axis. It works in the same way as the horizontal bar described above. For more information on the Group and Keyboard view, see section ↑7.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics Following the Playback Position on the Controller To follow the playhead position in the Event area during playback: ► Press the FOLLOW button at the bottom of your controller. → The FOLLOW button lights up. In the software the Event area will now switch to the next Pattern portion (with the same zoom factor) as soon as the playhead reaches the end of the portion currently displayed. This way, you always see the Pattern portion that is currently played.
Working with Patterns Pattern Basics The playhead in the timeline shows you the current play position. At any time you can jump to another position in the Pattern: ► Click anywhere in the timeline of the Event area to move the playhead to that position in the Pattern. Moving the playhead to another position in the timeline of the Pattern Editor automatically moves it to the corresponding position in the Arranger.
Working with Patterns Pattern Basics Example with playback on: Assuming that your Pattern is four bars long and the Pattern Grid resolution is set to one bar, if you click around the 1.4 mark (4th beat of the 1st bar) in the timeline when the playhead reaches the 3.3 mark (3rd beat of the 3rd bar), the playhead will jump from the 3.3 to the 1.3 mark (3rd beat of the 1st bar) and continue from there. 7.1.
Working with Patterns Pattern Basics The Keyboard View Alternatively, you can switch the Pattern Editor to Keyboard view: ► Click the Keyboard View button (showing a little keyboard) on the left of the Pattern Editor to switch it to Keyboard view: → The Event area now only shows notes for the selected Sound. By adding or editing notes, you can choose their pitch in semitones depending on where you place them on the vertical axis, the lowest note being the lowest row.
Working with Patterns Pattern Basics Switching Between Group and Keyboard View from the Controller The Group/Keyboard view in the software is always in sync with the Group/Keyboard/Chords mode of the pads on your controller: Switching between Group and Keyboard view in the software will automatically switch between Group mode and Keyboard mode on your controller (and inversely).
Working with Patterns Pattern Basics 1. To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange view and select the desired setting from the menu (see above for the available settings). → The divisions of the Arrange Grid now have the size you have just selected. The following Pattern Grid resolutions are available: ▪ 1 Bar, 1/2 note, …, 1/16th note: Each of these settings lets you adjust the Pattern Length by the specified increment.
Working with Patterns Pattern Basics ► To adjust the Pattern Length, click the Pattern Length: field and drag it up to make the Pattern longer or drag it down to make it shorter. You can also double-click the displayed value, enter a new value with your computer keyboard, and press [Enter] to confirm.
Working with Patterns Pattern Basics 1. Press and hold PATTERN to enter Pattern mode. You can also press PATTERN + Button 1 to pin Pattern mode so you can release PATTERN (see ↑2.3.2, Pinning a Mode on the Controller). 2. Turn Knob 4 (LENGTH) to adjust the Pattern Length according to the current resolution of the Pattern Grid. Method 2: Using the Pattern Arrange mode In Pattern mode you can adjust the Pattern Length of the current Pattern: 1.
Working with Patterns Pattern Basics Adjusting the Grid Using Record Prepare Mode This extra method is very useful if you are about to start a new recording. Indeed, the Record Prepare mode (accessed by pressing the unlit REC button and holding it) is tightly integrated into the recording workflow of Control mode. For all details please refer to section ↑7.2.2, The Record Prepare Mode. 7.1.
Working with Patterns Pattern Basics Depending on the current zoom factor and Step Grid resolution, if the vertical lines of the Step Grid are too close to each other they will be hidden to avoid convoluting the display. For example, this could be the case if you display 6 or 8 bars and choose a Step Grid resolution of 1/64th. Regardless of the current Step Grid resolution, the gray lines on the beats (quarter notes) and the black lines on the bars (notes) are always visible in the Event area.
Working with Patterns Pattern Basics Nudging events means shifting them a small amount ahead or behind their current position. See ↑7.4.4, Editing Selected Events/Notes for more information. The Nudge Grid is based on the Step Grid: ▪ The Nudge Grid is active when the Step Grid is active. If the Step Grid is disabled, nudging events will shift them at the maximum resolution of the sequencer.
Working with Patterns Pattern Basics The Nudge Grid is not indicated in the Event area of the Pattern Editor. Adjusting the Step Grid and the Nudge Grid on Your Controller You can enable/disable the Step Grid and adjust the Step Grid and Nudge Grid resolution from your controller. Enabling/Disabling and Adjusting the Step Grid To change the Step Grid resolution: 1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode. 2. Press Button 4 (STEP) to access the Step and Nudge Grid settings.
Working with Patterns Recording Patterns in Real Time Adjusting the Nudge Grid To change the Nudge Grid resolution: 1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode. 2. Press Button 4 (STEP) to access the Step and Nudge Grid settings. 3. Turn Knob 4 (NUDGE) to select the desired Nudge Grid resolution. → The new Nudge Grid resolution is directly in use, provided that the Step Grid is enabled (see above). 7.
Working with Patterns Recording Patterns in Real Time Take your time to set up the pad sensitivity and velocity scaling to your personal taste — you will have even more fun playing and recording with your controller! These settings can be found in Preferences > Hardware > Pads. See ↑2.6.6, Preferences – Plug-ins Page for more information. Overdub Mode Overdub mode is the most usual recording mode. In this mode all pad hits are added as events/notes, no matter if the Pattern already contains events.
Working with Patterns Recording Patterns in Real Time 1. Select the Sound(s) of which you want to replace events: In Group mode you can select multiple Sounds (see section ↑4.1.3, Selecting Multiple Sounds or Groups); in Keyboard mode only the focused Sound (the one played by your pads) will have its events replaced. 2. Press PLAY to start the sequencer. The PLAY button lights up. 3. Press ERASE + REC to begin recording in Replace mode. The ERASE and REC buttons light up. 4.
Working with Patterns Recording Patterns in Real Time You can also erase events without engaging record: If you hold ERASE together with a pad while playing (or recording), all events of that pad at the current play position are deleted (see section ↑7.4.5, Deleting Events/Notes). Where are the Events Recorded? When you start recording the pads, the events are recorded as follows: ▪ If a Pattern is already selected (i.e. loaded in the Pattern Editor), the events are recorded in that Pattern.
Working with Patterns Recording Patterns in Real Time The Record Prepare Mode on Your Controller 1. With REC disabled, press and hold REC to enter Record Prepare mode. After a second, the following displays appear: 2. While holding REC, to adjust the Pattern Length for the Pattern in which you are about to record, you can turn Knob 4 (LENGTH) or press Button 5–8 to directly select from the four length presets available: 2, 4, 8, or 16 bars. 3. Release REC.
Working with Patterns Recording Patterns in Real Time ► Click the metronome icon in the MASCHINE Header to enable/disable the metronome: The metronome can be heard only when the sequencer is playing! The metronome signal is sent to the Cue bus. To know how to use the Cue bus, see section ↑9.2.6, Using the Cue Bus. You can customize the metronome in various ways in the Preferences panel: ▪ You can adjust the metronome’s volume and time signature in the Preferences’ General page (see section ↑2.6.
Working with Patterns Recording Patterns in Real Time 1. Press SETTINGS to show the recording settings. 2. Turn Knob 1 (Metronome LEVEL) to adjust the metronome volume. 3. Turn Knob 2 (Metronome TIME) to select a time signature. While adjusting the metronome settings you can enable/disable the metronome via Button 2 (METRO). This is strictly equivalent to pressing SHIFT + TAP (Metro) as mentioned above. 7.2.
Working with Patterns Recording Patterns in Real Time If the current Loop Range does not start at the beginning of a bar (i.e.
Working with Patterns Recording Patterns with the Step Sequencer 7.3 Recording Patterns with the Step Sequencer If you are familiar with classic drum machines you may want to program your Pattern using the step sequencer. 7.3.1 Step Mode Basics On your controller the step sequencer is available via the Step mode. The Step mode allows you to program the steps to be played by the focused Sound in the current Group. ► Press STEP to switch your controller to Step mode.
Working with Patterns Recording Patterns with the Step Sequencer The Step mode on the controller displays: the first bar of a four-bar Pattern. The left display shows your entire Pattern, and the right display focuses on the portion of the Pattern corresponding to the steps controlled by your pads. The details shown in the displays depend on the current mode of your pads: ▪ If your pads are in Group mode: ◦ The left display shows events for all Sounds in the Group.
Working with Patterns Recording Patterns with the Step Sequencer 3. Press an unlit pad to create an event on that step. The pad lights up to indicate that there is an event on that step. The new event is one step long. The next time the playback position reaches that step the new event will be played. 4. Press a lit pad to remove that step. ⇨ The pad turns off and the event on that step is deleted. 5.
Working with Patterns Recording Patterns with the Step Sequencer When Follow is enabled, the right display and your pads automatically switch to the next 16 steps as soon as the playback position reaches the end of the portion currently displayed. 7.3.2 Editing Events in Step Mode In Step mode you can quickly adjust the parameters of events on particular steps. Editing Events in Step Mode on the Controller You can adjust the various settings of your events via the left display: 1.
Working with Patterns Recording Patterns with the Step Sequencer Editing Tool Description Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different velocities, the velocities differences are retained as long as the limits (0 and 127) are not reached. When only one event is selected, its velocity is shown under VELOCITY. If several events are selected, the field shows (MULTI).
Working with Patterns Recording Patterns with the Step Sequencer 7.3.3 Recording Modulation in Step Mode You can also record modulation in Step mode. This is helpful when you want to set value changes at a specific time in a Pattern. For all details on modulation please refer to section ↑7.5, Recording and Editing Modulation. 1. Press and hold the pad(s) representing the step(s) you want to modulate (you may need to use Knob 6 to navigate beforehand to the desired part of the Pattern).
Working with Patterns Editing Events the Page button (left of the displays) to select the Parameter page containing the parameter you want to record modulation for. Only parameters that can be modulated will appear at the bottom of the displays. 3. While holding the pad(s), turn any of the Knobs 1–8 under the displays to edit the modulation value of the corresponding parameter for this step. → The modulation values are recorded for this step.
Working with Patterns Editing Events 1 2 3 The Edit Mode selector. ► To choose a Mouse Edit mode, click the desired icon in the Edit Mode selector, at the bottom left of the Pattern Editor. You can also right-click ([Ctrl]-click on macOS) in the background of the Event area and select the desired mode from the context menu. (1) Select mode: Provides an exhaustive set of actions for creating, selecting, editing, and deleting events/notes.
Working with Patterns Editing Events Action Function Creating Notes (see ↑7.4.2, Creating Events/Notes for details) Double-click in Event area’s background Creates note Deleting Notes (see ↑7.4.5, Deleting Events/Notes for details) Double-click note Delete selected notes Right-click (macOS: [Ctrl]-click) Delete selected notes Selecting Notes (see ↑7.4.
Working with Patterns Editing Events Action Function [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid. Drag left/right note border Moves the start/end of selected notes according to the Step Grid, thereby resizing the notes. [Ctrl] + drag left/right note border Freely moves the start/end of selected notes (overrides the Step Grid quantization), thereby resizing the notes.
Working with Patterns Editing Events Mouse in Erase Mode With Erase mode enabled, the mouse works like an eraser: ► Click and hold the left mouse button down to erase notes wherever you move the cursor. Contrary to Paint mode, in Erase mode notes are always deleted, no matter if you first click a note or in the background of the Event area. Furthermore, in Erase mode notes can be deleted in several Sounds at once, independently of where you first clicked. 7.4.
Working with Patterns Editing Events Creating Events Beyond the Pattern’s End If you create an event beyond the end of the Pattern in the Event area, the Pattern is automatically extended to the next Pattern Grid division after the new event so that the Pattern includes this new event. For more information on the Pattern Length and the Pattern Grid, see section ↑7.1.6, Adjusting the Arrange Grid and the Pattern Length.
Working with Patterns Editing Events Selecting All Events You can select all events displayed in the Event area via the usual keyboard shortcut on your operating system: ► Click anywhere in the Event area and press [Ctrl] + [A] ([Cmd] + [A] on macOS) on your computer keyboard to select all displayed events. → If the Pattern Editor is in Group view this will select all events for all Sounds in the Pattern.
Working with Patterns Editing Events When your pads are in Group mode the Event Select mode looks as follows: Selecting events on the controller with the pads in Group mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group. ▪ The right display shows a detailed view of a portion of your Pattern with events and their velocities for the focused Sound.
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate Sounds for which the Pattern has no events. Nothing happens when you press them. Dimmed pads indicate Sounds for which events can be selected: Press any dimmed pad to add all events for that Sound to the selection. The pad turns fully lit to indicate that all its events are selected. You can press any additional dimmed pad to add its events to the selection.
Working with Patterns Editing Events By combining these tools you can precisely define the selection of events you want to edit. Event Select Mode: Selecting Notes (Pads in Keyboard mode) In Keyboard mode each pad represents a specific pitch of the focused Sound. When your pads are in Keyboard mode the Event Select mode looks as follows: Selecting events on the controller with the pads in Keyboard mode.
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when you press them. Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad to add all notes at that pitch to the selection. The pad turns fully lit to indicate that all its notes are selected. You can press any additional dimmed pad to add its notes to the selection.
Working with Patterns Editing Events 7.4.4 Editing Selected Events/Notes Once you have selected particular events, you can edit them in various ways. In the software you can edit events with your mouse only if Select mode is selected in the Edit Mode selector: Click the cursor icon on the left to select events with your mouse. Action Function Editing Selected Notes Drag note horizontally Moves selected notes in time according to the Step Grid (see quantizing rules below).
Working with Patterns Editing Events Action Function Double-click note Deletes selected notes. Right-click (macOS: [Ctrl]-click) Deletes selected notes. If multiple notes are selected, mouse actions can be performed on any of the selected notes — they will apply to all selected notes. If you perform any of the actions listed above on a note not included in the current selection, the selection is dropped and the note you are editing will be the only note affected by your edit.
Working with Patterns Editing Events Dragging vs. Nudging Dragging with the mouse is different from the Nudge command on your controller: ▪ Whereas dragging is based on the Step Grid, the Nudge command is based on the Nudge Grid (see section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid). ▪ Whereas you can drag notes beyond the end of the Pattern, nudged notes reaching the end of the Pattern are automatically sent to the beginning of the Pattern.
Working with Patterns Editing Events The Event Edit mode on the controller with pads in Group mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group. ▪ The right display shows a detailed view of a portion of your Pattern with events and their velocities for the focused Sound. If your pads are in Keyboard mode the Event Edit mode looks as follows: The Event Edit mode on the controller with pads in Keyboard mode.
Working with Patterns Editing Events ► Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respectively. ► If your pads are in Keyboard mode, turn Knob 7 to scroll on the pitch axis (vertical axis) from events at the lowest pitch until events at the highest pitch. Under the left display Knob 1–4 provide following editing functions: Editing Tool Description Knob 1 (POSITION) Nudges selected events, i.e.
Working with Patterns Editing Events Editing Tool Description Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different velocities, the velocities differences are retained as long as the limits (0 and 127) are not reached. If one event only is selected, its velocity is shown under VELOCITY. If several events are selected, the field shows (MULTI).
Working with Patterns Editing Events Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small increments. This can be used to creatively add groove to Patterns, for example, shifting the snare drum so that it is ever so slightly late, or “in the pocket” (something a funk drummer does naturally!). Transpose Events and Notes You can transpose selected events by semitones or octaves to match their pitch to your taste.
Working with Patterns Editing Events Mouse in Erase Mode ► To delete an event, simply click it. Click and hold the mouse anywhere in the Event area and move the cursor to quickly delete series of events. Deleting Events/Notes on the Controller Your controller provides you with several tools to delete events from the current Pattern.
Working with Patterns Editing Events ► Press SHIFT + pad 9 (CLEAR) to erase the selected events. If nothing is selected, all event/notes in the Pattern will be affected.
Working with Patterns Editing Events ▪ The jumps are based on the step size that is on the Step Grid setting. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid for more information. The command has the same effect whether your pads are in Group mode or in Keyboard mode. 7.4.6 Cut, Copy, and Paste Events/Notes You can also cut, copy and paste selected events to another location in the same Pattern or to a different Pattern and for the same Sound or another one (possibly in another Group).
Working with Patterns Editing Events Pasting Rules The location at which the cut or copied events will be pasted depends on the following: ▪ In any case the first pasted event will be quantized to the current Step Grid, and the following pasted events will retain their time offset to this first event. ▪ If you paste the events via the Paste command from the context menu of the Event area’s background: ◦ The first copied event is pasted at the closest step near the mouse cursor on the time axis.
Working with Patterns Editing Events ◦ If you have changed the Sound focus without changing the playhead position, events are inserted at the same timings as the original events. In Group view the events copied from the topmost Sound in the Sound List are pasted onto the focused Sound, and the other events will retain their vertical position relative to these topmost events. ◦ If you have changed both the Sound focus and the playhead position (e.g.
Working with Patterns Editing Events 7.4.7 Quantizing Events/Notes Quantization is the process of moving events to the closest steps. You can quantize your notes at any time, no matter how you recorded them. They will be quantized according to the step size (i.e. Step Grid resolution) selected. If you turn the Step Grid off, no quantization will be applied. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid above for more information on the Step Grid and the step size.
Working with Patterns Editing Events Quantize and Quantize 50% in the Pattern Editor context menu. To apply full or half quantization using the MASCHINE software: 1. Select the events in the Pattern Editor you want to quantize. If nothing is selected, the whole Pattern will be quantized. 2. To apply full quantization to the selected events, right-click the mouse and select Quantize from the context menu. 3.
Working with Patterns Editing Events To apply full or half quantization: 1. Select the events you wish to quantize. If nothing is selected, the whole Pattern content will be quantized. See ↑7.4.3, Selecting Events/Notes to know how to select events. 2. To apply full quantization to the selected events, press SHIFT + pad 5 (QUANTIZE). 3. To apply only a bit of quantization to keep the groove you created by playing your notes live, press SHIFT + pad 6 (QUANTIZE 50%).
Working with Patterns Editing Events Choosing an Input Quantization Mode In the software the Input Quantization can be configured via the Quantize setting available in the Input section at the bottom of the General page in the Preferences panel: ► Click the Quantize menu and select the desired Input Quantization mode from the three modes available (see their description above).
Working with Patterns Editing Events 7.4.10 Adding Variation to Patterns Variation provides an abundance of inspiration and even “happy accidents” when applied to your workflow. The variation engine contains two modes: ▪ Humanize: This mode adds natural rhythmic fluctuations to programmed sequences. ▪ Random: This mode provides randomly generated patterns or variations of your beats and melodies based on customizable values.
Working with Patterns Editing Events Element Description Velocity Lo Adjust notes with a velocity no lower than the set value. Velocity Hi Adjust notes with a velocity no higher than the set value. TIME SHIFT Step Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here. Step can be changed from +/- 0-50% in 5% increments. Press SHIFT to change in finer increments of 1%.
Working with Patterns Editing Events Element Description CHORDS (Keyboard mode) Note Count Set the amount of notes that are available to make up a chord per step. This is also calculated in relation to Note Count set in the DISTRIBUTIONS section. The Note Count range is from 1 to 6. NOTE LENGTH Steps Set the length of a note in steps. The value ranges from 1 to 6 steps per note. Press SHIFT to change in finer increments. TIME SHIFT Step Set the amount of time shift per step.
Working with Patterns Recording and Editing Modulation Element Description Notes Equal: Notes will be evenly distributed across the Pattern in accordance with the Step Grid. (Keyboard mode) Gauss: Notes are more is likely to be distributed to the middle part of the note range. ½ Gauss: Notes are more likely to be distributed to the middle and lower part of the Pattern in accordance with the Step Grid. Note Length Fixed: Notes will have the same length across the Pattern.
Working with Patterns Recording and Editing Modulation Modulation vs. Automation Although both deal with automatic change of MASCHINE parameters, modulation and automation have to be distinguished. The following table summarizes the main differences: Modulation Automation Source of control Internal (e.g., changes recorded via Auto-write) External (e.g.
Working with Patterns Recording and Editing Modulation 7.5.1 Which Parameters Are Modulatable? All the modulatable parameters are found in Plug-ins or Channel properties (e.g., you cannot modulate the Pattern Length or the Step Grid resolution). This means that all modulatable parameters are found in a Parameter page of the Control area (when the software is in Arrange view).
Working with Patterns Recording and Editing Modulation Also note that your Macro Controls will be modulatable if, and only if, their target parameters are themselves modulatable. For more information on Macro Controls please refer to section ↑8.3, Creating Custom Sets of Parameters with the Macro Controls. 7.5.
Working with Patterns Recording and Editing Modulation ► To remove the entire modulation for a knob, simply right-click (on macOS: [Ctrl]+click) its outer ring. You can also create and edit modulation tracks directly in the Control Lane. See section ↑7.2.2, The Record Prepare Mode for more information. To modulate a parameter with the controller: 1.
Working with Patterns Recording and Editing Modulation 7.5.3 Creating and Editing Modulation in the Control Lane You can also create, select, and edit individual modulation points in the Modulation pane of the Control Lane. Displaying the Modulation Pane in the Control Lane 1. To see and edit modulation for parameters of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area. 2.
Working with Patterns Recording and Editing Modulation ▪ The left part shows the Modulator List showing all parameters currently modulated in the focused Sound or Group. Click any entry to display the modulation track for that parameter on the right. Click the “+” symbol at the end of the list to add a modulation track for another parameter (see below). If the list is too small to display all entries at once, a vertical scroll bar appears on the right to navigate the list.
Working with Patterns Recording and Editing Modulation 1 2 3 The Edit Mode selector. All actions in the Control Lane are quantized according to the Step Grid. For more information on the Step Grid, please refer to section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid. Mouse Edit Mode Available Mouse Actions (1) Select mode To create modulation points, double-click in the Control Lane — other points on this step will be replaced.
Working with Patterns Recording and Editing Modulation Adding a Modulation Track As soon as you record modulation for a new parameter in the software or from your controller, a new modulation track is automatically created and contains your recorded movements in form of modulation points. But you can also create a new modulation track from scratch in the Control Lane. Here is how.
Working with Patterns Recording and Editing Modulation Once you have selected a parameter in the menu the parameter name appears in place of Modulator X in the Modulator List and the modulation track on the right is editable. → In the modulation track you can now add and edit modulation points for the selected parameter as described above. The modulation track is added to all Patterns of the Group and you can directly create different modulation points in other Patterns for that track.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE Removing a Modulation Track ► To remove a modulation track, hover its entry in the Modulator List with the mouse and click the little cross that appears on its right. → The modulation track and its entry in the Modulator List are removed from the Modulation pane for all Patterns. The parameter is not modulated anymore. 7.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE Create MIDI tracks in the MIDI pane of the Control Lane. 1. Click the desired Sound in the Sound List on the left of the Pattern Editor. 2. If the Control Lane is not visible at the bottom of the Pattern Editor, click the up-pointing arrow in the bottom left corner of the Pattern Editor to show it. 3. Click the MIDI socket icon left of the Control Lane to display the MIDI pane. 4.
Working with Patterns Managing Patterns You will notice that one MIDI track is always present in the MIDI pane: the Velocity track. This track holds the velocities for all the events for the focused Sound in the Pattern. You cannot delete the Velocity track. Removing a MIDI Track ► To remove a MIDI track, hover its entry in the list of MIDI controls on the left with the mouse and click the little cross that appears on its right.
Working with Patterns Managing Patterns Use the Pattern Manager to manage your Patterns. ▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots containing a Pattern show a colored bar on the left along with the Pattern name. The other slots contain no Pattern. The selected Pattern is highlighted (the Basics - Return Pattern in the picture above).
Working with Patterns Managing Patterns Closing the Pattern Manager ► To close the Pattern Manager, click anywhere outside it. The Pattern Mode on Your Controller The Pattern mode is where you select and manage your Patterns. ► To enter Pattern mode on your controller, press and hold PATTERN (you can pin it by pressing Button 1 at the same time). → Your controller switches to Pattern mode. This is indicated by the lit PATTERN button. The hardware displays in Pattern mode.
Working with Patterns Managing Patterns 7.7.2 Selecting Patterns and Pattern Banks In the topmost row of the Pattern Editor, you can see on the left the name of the Pattern selected: The selected Pattern is named Basics. Selecting a Pattern: 1. Open the Pattern Manager (see ↑7.7.1, The Pattern Manager and Pattern Mode). 2. If it is not already selected, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right.
Working with Patterns Managing Patterns → The selected Pattern is loaded in the Pattern Editor and its events appear in the Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑14.3, Using Arranger View for more on this).
Working with Patterns Managing Patterns 7.7.3 Creating Patterns First of all, you don’t need to explicitly create a new empty Pattern before filling it with events: ▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the software or by recording pads on your controller) a new Pattern will be created for it! See section ↑7.4.2, Creating Events/Notes for more information on creating events.
Working with Patterns Managing Patterns → A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑14.3, Using Arranger View for more on this). 7.7.3.
Working with Patterns Managing Patterns 7.7.4 Deleting Patterns To delete a Pattern: 1. Open the Pattern Manager (see ↑7.7.1, The Pattern Manager and Pattern Mode). 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press the pad corresponding to the Pattern you want to delete. 4. Press Button 6 (DELETE). → The Pattern is deleted. Alternate Method 1. Press and hold PATTERN to enter Pattern mode. 2. Press Button 7 and 8 to select the desired Pattern bank. 3. Press ERASE + the pad corresponding to the Pattern you want to delete. → The Pattern is deleted.
Working with Patterns Managing Patterns 2. Click the “+” symbol under the last pad grid on the right to create another Pattern bank. → A new empty Pattern bank is created and its pad grid appears in place of the “+” symbol. If the last Pattern bank is empty, there is no “+” symbol under its pad grid and you cannot create any new Pattern bank. Deleting a Pattern Bank To delete a Pattern bank: 1. Open the Pattern Manager (see ↑7.7.1, The Pattern Manager and Pattern Mode). 2.
Working with Patterns Managing Patterns If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 7.7.6 Naming Patterns You can replace the Patterns’ default names with custom names of your own. This can be done in the Pattern Editor, in the Pattern Manager or in the Arranger. Renaming Patterns in the Pattern Editor To rename the selected Pattern in the Pattern Editor: 1.
Working with Patterns Managing Patterns 3. On the right of the Pattern slot, click the little pen icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Rename from the context menu: The Pattern name gets highlighted and editable. 4. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Pattern is renamed.
Working with Patterns Managing Patterns 1. Double-click any Clip referencing the Pattern you want to name. The Clip turns to a text field and waits for your input. 2. Type a name and press [Enter] on your computer keyboard to confirm. → The Pattern is renamed. All Clips referencing this Pattern will mirror the new Pattern name. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with Patterns Managing Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Pattern slot or the corresponding cell in the pad grid and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Pattern is highlighted. 4. Select the desired color in the Palette. You can also choose to set the Pattern back to its default color by selecting Default at the bottom of the Color Palette. → The Pattern slot takes the new color you select.
Working with Patterns Managing Patterns 2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. 3.
Working with Patterns Managing Patterns 2. Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from the slot’s context menu: 3. Select the Group in which you want to paste the Pattern’s content. 4. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again. The selected (or created) Pattern appears in the Pattern Editor. 5.
Working with Patterns Managing Patterns → The Pattern is copied to the target pad. The target pad starts flashing and you can further copy/paste it to other slots! This procedure has following benefits: ▪ You can paste the copy into the Pattern slot of your choice — empty or not. If the target Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
Working with Patterns Managing Patterns 4. While holding the mouse button, drag your mouse toward the desired location. As the mouse cursor moves, the potential target slots are highlighted or an insertion line appears at the potential places between slots where you can drop the Pattern slot. 5. When the desired slot is highlighted or when the insertion line appears at the desired location, release the mouse button. → The Pattern takes its new place.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns → The Pattern Length can now be adjusted in finer increments according to the value of the Step Grid. 7.8 Importing/Exporting Audio and MIDI to/from Patterns In the Pattern Editor you can quickly export MIDI and audio from Patterns and import MIDI to Patterns via drag and drop. 7.8.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. If you want to export a single Sound in the Group, you can switch the Pattern Editor to Keyboard view, put the focus on the desired Sound, and check that this Sound is not muted (see section ↑5.4.1, Mute and Solo) — otherwise the exported audio file will be silent! Alternatively you can let the Pattern Editor in Group view and solo this Sound. 4.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can export MIDI files using two methods: via drag-and-drop or via the Group/Sound context menu. Exporting MIDI via Drag-and-Drop You can render the selected Pattern to a MIDI file by simply dragging it onto the target location on your operating system or directly into a MIDI channel of your host software: 1. Select the Pattern you want to export MIDI from (see section ↑7.7.2, Selecting Patterns and Pattern Banks). 2.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select the Pattern you want to export MIDI from (see section ↑7.7.2, Selecting Patterns and Pattern Banks). 2. To export MIDI from the entire Group, switch the Pattern Editor to Group view and rightclick ([Ctrl]-click on macOS) the desired Group in the Group List (left of the Arranger) to open its context menu. You can also right-click ([Ctrl]-click on macOS) the Group name above the Sound List.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 7.8.3 Importing MIDI to Patterns You can import MIDI files (extension “.mid”) to Patterns. This allows you to use in MASCHINE MIDI files prepared with another application. This function is only available in the software. Importing MIDI data into a Pattern that already contains data (note, modulation tracks, and MIDI tracks) will replace that data.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the Group in the Group List and select Import MIDI… from the context menu. You can alternatively right-click ([Ctrl]-click on macOS) the Group name in the header above the Sound List and select the same entry. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Group in the Group List left of the Arranger. → The MIDI file will be imported to the selected Pattern of the Group according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ◦ For each Sound, MIDI notes will be imported at the default root note C3 — this ensures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦ The MIDI CC data will be copied to all Sounds for which MIDI notes have been imported.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import MIDI… from the context menu. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm. → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. Method 2: via drag and drop 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor). → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. If the Pattern Editor is in Keyboard view, you can also drag the MIDI file directly onto the Event area to import it into the focused Sound! Method 3: using the FILES pane of the Browser 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑3.6, Loading and Importing Files from Your File System to know how to use the FILES pane). 5. Double-click the MIDI file or click it and press [Enter] on your computer keyboard. → The MIDI file will be imported to the selected Pattern for the focused Sound according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser. 2. Drag and drop the multiple selection onto the desired Group in the Group List. → New Patterns will be created for that Group. Apart from this, each new Pattern receiving the data from one of the MIDI files. Apart from this, each MIDI file will be imported as a single MIDI file to that Group — see above for a detailed description.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 2. Drag and drop the multiple selection onto the desired Sound in the Sound List. → New Patterns will be created for that Sound in the Group, each new Pattern receiving the data from one of the MIDI files. Only this Sound will contain notes in these new Patterns. Apart from this, each MIDI file will be imported as a single MIDI file to that Sound — see above for a detailed description.
Audio Routing, Remote Control, and Macro Controls 8 Audio Routing, Remote Control, and Macro Controls This chapter describes a few important topics and features of MASCHINE’s routing and assignment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪ We will explain how MASCHINE’s audio routing works and how to take advantage of its flexibility: ↑8.1, Audio Routing in MASCHINE.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1 Audio Routing in MASCHINE MASCHINE offers a powerful audio routing system that you can finely customize to fit your specific needs. To make it short, by default the various channels of MASCHINE are structured in a simple, hierarchical way: ▪ At the bottom level, each Sound has its own channel. The output of the Sound’s channel is sent to its parent Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Mix View or Arrange View? When it comes to adjusting audio and MIDI routings, the Mix view can sometimes be the most efficient way to do: The familiar mixing desk layout allows you to quickly find the parameters you are looking for and adjust the routing on the fly. Hence, in the following sections we describe the procedures in both Arrange view and Mix view.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Input properties is available for Sounds only. MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the features of the Input Module available in previous MASCHINE versions. The Audio page of the Input properties for a Sound in the software. The AUDIO page of the Input properties for a Sound on the controller. Please refer to section ↑2.3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Source Selects an external audio input to be routed to the Sound. Available entries are None (no external input) and the four external stereo inputs Ext. 1–4, as well as any additional output(s) of multipleoutput Plug-ins loaded in other Sounds of the same Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. This is equivalent to setting the Source parameter described above. 6. Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any. Similarly, by default the outputs of all Groups are sent to the Master, where they are mixed together and processed by the Plug-ins loaded in the Master, if any.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller. Controls Description AUDIO Section Dest. Selects where you want to send the main audio output of your channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Pan Defines the pan position of the channel in the stereo field. Audio Mute (Sounds only) If you enable Audio Mute, muting this Sound will not only bypass its events but also mute its audio output, thereby muting any audio tails from notes already played. See section ↑5.4.1, Mute and Solo for more information. If MASCHINE is running as a plug-in, the external stereo outputs Ext.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Group mode. In Keyboard mode, the knobs are not visible. Configuring the Main Outputs of Sounds and Groups in Mix View You can also easily configure the outputs of your Sounds and Groups in MASCHINE’s Mixer: 1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. To select another destination for the channel’s output, click the first area under the level meter, and select the desired destination in the menu. This is equivalent to setting the Dest. parameter described above. 8.1.3 Setting Up Auxiliary Outputs for Sounds and Groups Each Sound or Group of your Project provides two auxiliary outputs that you can route to additional targets.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. The AUX page of the Output properties (here for a Group) on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Aux page of the Output properties in the software and from your controller. Controls Description AUX 1 / AUX 2 Section Dest.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Level Adjusts the level of the signal sent to the Aux 1 or Aux 2 output. Order If Order is set to Pre, the channel will be fed into Aux 1 or Aux 2 before the Level and Pan settings of the MAIN section on the Audio page are applied. If Order is set to Post (default setting), the Level and Pan settings of the main output also affect the signals sent to the auxiliary outputs.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Check that the AUX button is active on the left of the Mixer — if not, click it to enable it and display the settings for the auxiliary outputs of each channel strip. 4.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 6. Adjust the level for that auxiliary output via the little knob at the right of the menu. This is equivalent to setting the Level parameter described above. 7. Set the pre/post state of the auxiliary output by clicking the Post (or Pre) label right under the menu. This is equivalent to setting the Order parameter described above. 8.1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Output properties for the Master in the software. The AUDIO page of the Output properties for the Master on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description CUE Section Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1– 16. By selecting a different output from the one used for the main stereo output, you can effectively pre-listen on this additional output (e.g., on your headphones) any channel(s) currently sent to the Cue bus.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath. In this Master/Cue channel strip, do the following to configure the output of the Master channel: 1. Click Master in the strip’s header to show the controls for the Master channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. To adjust the level and panoramic position of the main output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the MAIN section, respectively (see above). 3. To select another destination for the Master output, click the first area under the level meter and select the desired destination in the menu.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 1. Click the headphone icon in the strip’s header to show the controls for the Cue channel. 2. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the CUE section, respectively (see above). 3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.5 Mono Audio Inputs Each Sound can be configured to receive external stereo or mono audio signals. You may use audio signals from outside MASCHINE (from your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used in plug-in mode). MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external mono or stereo input.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.5.1 Configuring External Inputs for Sounds in Mix View You can also easily send stereo or mono external audio to Sounds in MASCHINE’s Mixer: 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE ⇨ The Mixer displays the channel strips of all Sounds in the selected Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. ⇨ This is equivalent to setting the Source parameter described above. 6. Turn the little knob on its left to adjust the input gain.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 8.2 Using MIDI Control and Host Automation MASCHINE provides you with flexible MIDI remote control and host automation facilities that can be used in many situations.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Outgoing MIDI You can also sending MIDI data from Sounds. For example, when MASCHINE is running as a plug-in in a host environment, this allows you to record your performance on the pads as a MIDI pattern in your host application. This is described in section ↑8.2.5, Sending MIDI from Sounds. 8.2.1 Triggering Sounds via MIDI Notes MASCHINE lets you play your Sound(s) via MIDI notes (e.g., from a MIDI keyboard).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation If the Sound has no Plug-ins, the incoming MIDI notes will be forwarded to the Sound’s MIDI output, if enabled (see section ↑8.2.5, Sending MIDI from Sounds).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Input properties (here for a Group) on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Input properties in the software and from your controller.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Channel Selects the MIDI channel on which the Sound or Group will receive MIDI notes. If you select All (default setting), the Sound or Group will receive MIDI notes from all channels. The Channel parameter of a Sound is also used when importing a multi-channel MIDI file to its Group — see section ↑7.8.3, Importing MIDI to Patterns for more on this.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation This is equivalent to setting the Source parameter described above. If MASCHINE is running as a plug-in you see a MIDI IN button instead. Click it to enable the MIDI input from the host. This is equivalent to enabling the Active button described above. 5. Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation For more information on how to trigger MASCHINE 2 sounds via MIDI Notes in a host Sequencer refer to this Knowledge Base Article: http://www.native-instruments.com/ knowledge/questions/1780/. 8.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ⇨ This opens the following dialog: ⇨ Click Scene Enabled from the dialog. 4. In the submenu that opens, select the source you want to use for changing the MIDI Program Change messages. A list of connected controller names appear in the drop-down menu, or you can select None to disable the feature. 5.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 8.2.3 Controlling Parameters via MIDI and Host Automation You can assign many parameters of the Channel properties and Plug-ins located in your various channels (Sounds, Groups, and Master) of your Project to MIDI messages in order to control and automate them via MIDI.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation This section describes how to use automation in MASCHINE — for more information on using modulation, please refer to section ↑7.5, Recording and Editing Modulation. Please note that modulation and automation are not mutually exclusive: You can modulate a parameter in MASCHINE and automate it (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation MASCHINE 1.x owners: In previous MASCHINE versions MIDI/host automation was only possible via the Macro Controls. Now MIDI/host automation and Macro Controls are unrelated: MIDI/host automation can be configured directly on parameters, independently of your Macro Control assignments. Macro Controls now specifically serve as shortcuts (or “aliases”) for parameters — see section ↑8.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host automation IDs to MASCHINE parameters. Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g., you cannot automate the Pattern Length or the color of a Scene).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation You will notice that the rules for automatable parameters are the same as for modulatable parameters except that modulatable parameters can only be found in Sounds and Groups (not in the Master). In other words, at the Sound and Group level the same parameters are both automatable and modulatable. For more information on modulation please refer to section ↑7.5, Recording and Editing Modulation.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Click the Enable label in the Assignment field under any unassigned parameter to automatically assign that parameter to the next free automation ID. → The Assignment field displays the automation ID for that parameter. The parameter is ready to be controlled from your host.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 1. Click the down-pointing arrow in the bottom left corner of the Control area to open the Assignment area underneath. 2. On the left of the area, click the Automation tab to show the Automation pane, then in this pane click the MIDI tab. In this tab, the Assignment fields for automatable parameters read Learn. 3. Click Learn in the Assignment field of a parameter to enter Learn mode for that parameter.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation For the Learn mode and the resulting MIDI control to work, MIDI must be correctly configured in MASCHINE. If MASCHINE is running as stand-alone application this is done in the MIDI page of the Preferences panel — for more details please refer to section ↑2.6.3, Preferences – MIDI Page. If MASCHINE is running as a plug-in in a host application the MIDI configuration is done in the host — see section ↑2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 8.2.4 Selecting VST/AU Plug-in Presets via MIDI Program Change If you have a Native Instruments or third-party VST/AU plug-in loaded in a Sound, you can remotely switch presets (or patches, programs, etc.) in your plug-in via MIDI Program Change messages. For this to work, your plug-in must expose its presets (or a particular set of presets) to the host.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI output of Sounds is configured on the MIDI page of the Output properties for Sounds. The MIDI page of the Output properties is available for Sounds only. MASCHINE 1.x owners: The MIDI page of the Sound Output properties replaces and extends the features of the MIDI Out Module available in previous MASCHINE versions. The MIDI page of the Output properties for a Sound in the software.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description MIDI Section Dest. Selects the MIDI port on which the Sound will send MIDI data. If MASCHINE is running in stand-alone mode, available entries are None (MIDI output disabled, default setting), every enabled MIDI output port, as well as any Sound in the same Group containing a Plug-in that can receive MIDI (multitimbral Plug-in).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 5. At the bottom of the channel strip of the Sound you want to configure, click the bigger field left and select the desired MIDI port in the menu. This is equivalent to setting the Dest. parameter described above. 6. Click the little field on its right to select a MIDI channel. This is equivalent to the Channel parameter described above.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 8.3 Creating Custom Sets of Parameters with the Macro Controls Macro Controls enable you to control in one same location a selection of parameters coming from different sources.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Macro properties in the software and from your controller. 8.3.1 Macro Control Overview Each Macro Control can be assigned to one destination with the full range of the selected parameter.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Press MACRO to directly switch to the Macro Controls of the focused channel (Sound, Group or Master). 8.3.2 Assigning Macro Controls Using the Software Macro Controls can be assigned in two different ways. The quickest and easiest way is to create a Macro Control directly from a parameter. The other more elaborate method is to use the Pages Pane in the Assignment Area.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Assigning Macro Controls Using the Pages Pane Assigning Macro Controls is done in the Pages pane of the Assignment area when the Macro properties are selected. The procedure is similar to the procedure used when assigning parameters of VST/AU plug-ins to Parameter pages in MASCHINE (see section ↑6.3.3, Setting Up Your Own Parameter Pages).
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Pages tab can be clicked only for Plug-ins, External MIDI device Control Change assignments, and for Macro properties. For all other Plug-ins and Channel properties, parameters and Parameter pages are not editable, and the Pages tab is grayed out and inactive. For more information on how to assign parameters of Native Instruments or External Plug-ins to Parameter pages, please refer to ↑6.3.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its section(s) — if there are more than one section, the page label will mirror all of them, separated by slashes. (4) Reset button: Click Reset to remove the Macro Control assignment for the selected knob.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls and if you are editing the Macros of a Group you will see the Sounds subcategory listing all Sounds in that Group, and if you are editing the Macro properties of a Sound you will see the MIDI menu item which upon selection lists all available Control Change messages that can be assigned to a Macro Control.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro. Cut Cut the Macro to paste it in another position. Ctrl + X / Cmd + X Copy Copy the Macro. Ctrl + C / Cmd + C Paste Paste a cut or copied Macro to a new position.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control Area Assignment Pages context menu. The context menu contains the following items: Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 8.3.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls → The parameter is assigned as a Macro and a small icon will appear next to the parameter name. You can see the Macro assignments for each level by pressing the MACRO button on your controller and selecting the Macro level (MASTER, GROUP or SOUND). Macro Controls are saved with a MASCHINE Project, so don’t forget press SHIFT + FILE (Save) once you have assigned all your Macros.
Controlling Your Mix Mix View Basics 9 Controlling Your Mix The default view of the MASCHINE software is the Arrange view, which contains the Arranger at the top, the Control area in the middle, and the Pattern Editor / Sampler Editor at the bottom.
Controlling Your Mix Mix View Basics The Mix View button. ► Click the Mix View button at the top left of the Arranger to switch between the Arrange view and the Mix view. ► Press the MIXER button to display Mix view on the controller. Press the MIXER button again to return to the previous view. 9.1.
Controlling Your Mix Mix View Basics 1 2 3 The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom. (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project. You can change these settings on the fly, select or put the focus on any channel, etc.
Controlling Your Mix The Mixer 9.2 The Mixer Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and routing settings of different channels in one go. The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
Controlling Your Mix The Mixer ▪ Which of the Sound or Group level is selected for displaying: ↑9.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑9.2.2, Adjusting the Mixer Layout. 9.2.1 Displaying Groups vs. Displaying Sounds The Mixer provides two display modes, allowing you to focus on the current context: ▪ Group level: The Mixer shows channel strips for all Groups of your Project.
Controlling Your Mix The Mixer In this mode the desk’s input strips (1) represent all Groups of your Project, while the output strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the headers of all your Groups and of the Master/Cue channel (3). The focused channel is highlighted.
Controlling Your Mix The Mixer → If the Mixer was displaying Sound strips beforehand, it will display all Group strips instead, and the Group you have double-clicked will be focused. If the Mixer was displaying Group strips beforehand, it will instead display all Sound strips of the Group that you have double-clicked. The last focused Sound slot in that Group will be focused again.
Controlling Your Mix The Mixer Showing/Hiding Particular Sections of the Strips Both when displaying all Group channels or all Sound channels of a particular Group, the Mixer allows you to select which sections you want to show or hide in the strips currently displayed. This is done via the three buttons on the left of the Mixer, under the arrow expanding the Mixer: Choosing what to display in the channels.
Controlling Your Mix The Mixer ▪ When the Mixer displays the Sound strips of a Group, when you click another Group header in the top row the Mixer will stay at the Sound level and directly display to the Sound strips of this other Group. ▪ You can select more than one channel strip among the strips displayed. The focused strip is always selected. The multiple selection follows the same rules as in Arrange view (see section ↑4.1.3, Selecting Multiple Sounds or Groups).
Controlling Your Mix The Mixer The channel’s context menu provides the exact same entries as in Arrange view. Following management commands are available in the Mixer: Management Command Action Renaming channels Double-click the channel name in the header, type the desired name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also open the channel’s context menu and select Rename. See section ↑4.2.3, Renaming Sound Slots and ↑4.3.3, Renaming Groups.
Controlling Your Mix The Mixer 9.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the various Plug-ins loaded in the channel, then goes through the pan and level controls, and finally arrives to the output routing settings at the bottom.
Controlling Your Mix The Mixer Available Settings in Sound/Group Channel Strips We list here all the elements available in a full channel strip. For each element we indicate the basic operation and the corresponding parameter in Arrange view. If some of the settings are not visible, check that the Mixer is not minimized and that the relevant button is enabled at the left of the Mixer — see section ↑9.2.2, Adjusting the Mixer Layout for more information.
Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ↑9.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ↑9.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also use the Rename entry in the channel’s context menu.
Controlling Your Mix The Mixer This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange view. For all details, see section ↑6.1, Plug-in Overview. (5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue state. Following actions are available: ▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level parameter in the Audio page of the channel’s Output properties (see ↑8.1.
Controlling Your Mix The Mixer (8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if the IO button is enabled on the left of the Mixer. Click the MIDI OUT label to select a MIDI output port, then select a channel via the additional menu on the right. These controls are equivalent to the Dest. and Channel selectors in the MIDI page of the Sound’s Output properties (see ↑8.2.5, Sending MIDI from Sounds). Parameter modulation is not indicated in the Mixer.
Controlling Your Mix The Mixer ▪ Pre-listening to Samples in the Browser (see section ↑3.3.3, Auditioning Samples). ▪ Metronome (see section ↑7.2.3, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ↑15.2.2, Selecting the Source and the Recording Mode) or slicing Samples (see section ↑15.4, Slicing a Sample). Sending Sound and Group Channels to the Cue Bus ► In any channel strip, click the little headphones button to send this channel to the Cue bus.
Controlling Your Mix The Plug-in Chain 2. Click the headphone icon in the Master header. → The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue channel’s level and panoramic position, along with the destination you want to send the Cue channel to. As destination, choose for example another output pair into which you will have plugged your headphones. These settings are described in section ↑8.1.4, Configuring the Master and Cue Outputs of MASCHINE. 9.
Controlling Your Mix The Plug-in Strip ▪ Click the little square on the left of a Plug-in name to bypass this Plug-in slot (bypassed slots are grayed out). Click the little square again to unmute the Plug-in slot and insert the Plug-in back into the processing chain. See section ↑6.1.5, Bypassing Plug-in Slots for more information.
Controlling Your Mix The Plug-in Strip ▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑9.4.1, The Plug-in Header. ▪ Internal Effects and Drumsynths have their own custom panels: ↑9.4.2, Panels for Drumsynths and Internal Effects. ▪ The Sampler Plug-in has a special, extended panel: ↑9.4.3, Panel for the Sampler. ▪ Native Instruments Plug-ins provide dedicated panels inspired from the user interface of each particular Native Instruments product: ↑9.4.
Controlling Your Mix The Plug-in Strip Use the horizontal scroll bar to display the other Plug-in panels. If the MASCHINE window is not high enough for any Plug-in panel to be displayed entirely, a vertical scroll bar appears on the right of the panel to display the hidden part: Use the vertical scroll bar to display the rest of the Plug-in. 9.4.
Controlling Your Mix The Plug-in Strip 2 3 4 1 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑9.4.4, Custom Panels for Native Instruments Plug-ins for more on this.
Controlling Your Mix The Plug-in Strip 9.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top. This Header contains the name of the current preset and the Quick Browse icon — see section ↑9.4.
Controlling Your Mix The Plug-in Strip For an exhaustive description of the parameters available in each panel, please refer to chapter ↑10, Using the Drumsynths for Drumsynths and chapter ↑13, Effect Reference for Internal Effects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the value of modulated parameters might change even if their control element doesn’t move in the panel. See section ↑7.
Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane 1 2 3 7 4 6 5 The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides the same features as the waveform found in the Sample view of the Zone page in the Sample Editor: Start and End markers, zooming, etc. For more details, see section ↑15, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parameters from the Pitch/Envelope page in the Control area. For more details, see section ↑6.2.2, Page 2: Pitch / Envelope. (5) SATURATION, LO FI, and FILTER sections: Allows you to adjust the parameters from the FX/ Filter page in the Control area. For more details, see section ↑6.2.3, Page 3: FX / Filter.
Controlling Your Mix The Plug-in Strip The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample Map: Allows you to adjust the key and velocity ranges of your Zones. This the same as the Map view available in the Zone page of the Sample Editor. For more details, see section ↑15, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of ABSYNTH 5: MASCHINE - Manual - 514
Controlling Your Mix The Plug-in Strip ▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE - Manual - 515
Controlling Your Mix The Plug-in Strip ▪ GUITAR RIG’s Default view shows a mini Rack with a reduced version of the Global Header at the top: As with all other Plug-ins, the panel for Native Instruments Plug-ins shows the Plug-in Header at the top containing a button for opening the Plug-in in a floating window as well as the name of the current preset and the Quick Browse icon — see section ↑9.4.1, The Plug-in Header above for more details.
Controlling Your Mix The Plug-in Strip Click the little “+” in the Header to switch between Default and Additional view. macOS users: The VST plug-in of a Native Instruments product must be installed for this product’s Default view (and Additional view, if any) to appear in the Plug-in Strip. If you normally use the AU version of this Native Instruments product, please check that its VST version is also installed on your computer to ensure the perfect integration of this plug-in into MASCHINE.
Controlling Your Mix The Plug-in Strip → The Plug-in shows up in its own floating window. When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin Plug-in placeholder (see below). Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu. MASCHINE will always show the open floating windows of the focused channel (Sound, Group or Master).
Controlling Your Mix The Plug-in Strip ▪ In the Plug-in Strip the Plug-in panel is replaced with a thin vertical Plug-in placeholder containing only the little diagonal arrow — this allows you to dock the Plug-in back into the Plug-in Strip (see below). ▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s elements described in section ↑9.4.
Controlling Your Mix Controlling Your Mix from the Controller 9.5 Controlling Your Mix from the Controller Your controller provides a dedicated Mix mode. The Mix mode provides an overview of your channels via a mixing desk layout, similarly to the Mixer in the software’s Mix view (see section ↑9.2, The Mixer).
Controlling Your Mix Controlling Your Mix from the Controller Alternatively you can focus Groups and Sounds by pressing the Group buttons and the pads as in Control mode. If you set the focus to a Sound or Group not visible on the displays, these automatically switch to the relevant set of eight channels: for example if you are viewing Sound channels 1–8 and press pad 11, the displays automatically jump to Sound channels 9–16 in order to show the Sound slot 11 you just selected.
Controlling Your Mix Controlling Your Mix from the Controller 2. If you want to adjust the level of a Sounds, switch to the Sound view by pushing the 4-D encoder downwards. 3. If you want to adjust the panoramic position of a Sound, press the 4-D encoder and turn it counterclockwise to pan the Sound to the left or clockwise to pan the Sound to the right. 4. Use the Page buttons to show the desired channels on the displays.
Controlling Your Mix Controlling Your Mix from the Controller The strips of muted channels are grayed out in the displays. Even if the displays don’t switch to Mute or Solo mode, the usual procedures for muting and soloing Groups and Sounds stay valid in Mix mode. For more information on the Mute and Solo functions, please refer to section ↑5.4.1, Mute and Solo. 9.5.
Using the Drumsynths 10 Using the Drumsynths Drumsynths are a powerful set of monophonic Internal Instrument Plug-ins (i.e. Instrument Plug-ins included with MASCHINE) that allow you to generate individual, fine-tuned drum sounds for your music productions. Like any other Instrument Plug-in, you can load them only in the first Plug-in slot of Sounds.
Using the Drumsynths Drumsynths – General Handling 10.1 Drumsynths – General Handling This section describes the general use and features of the Drumsynths. Managing Drumsynths Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drumsynths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer to section ↑6.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same parameter organization in the Control area. ▪ Their parameters are grouped into the same three Parameter pages: ◦ The Main page groups the most important parameters for each drum type. Here you can select the engine to be used, the tuning, the decay, etc. ◦ The Advanced page provides access to more complex and finer adjustments to the drum sounds.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same global layout in the Plug-in Strip. ▪ In the top part of the panel you can adjust the Tune parameter, select the desired engine, adjust the velocity response, and adjust the Decay parameter (or the Filter parameter for the Shaker engine of the Percussion). ▪ In the bottom part of the panel you find the other parameters adjusting the sound of the selected engine.
Using the Drumsynths Drumsynths – General Handling 10.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily. The ranges of some shared parameters are different across engines.
Using the Drumsynths The Kicks For all engines, the Tune parameter lets you define which pitch will be played when hitting the pad of that Sound (with pads in Group mode) or playing the middle C (MIDI note 60) base note. In the MASCHINE convention the MIDI note 60 is noted C3.
Using the Drumsynths The Kicks The Kick panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Kick provides following engines: ▪ Sub (default): ↑10.2.1, Kick – Sub. ▪ Tronic: ↑10.2.2, Kick – Tronic. ▪ Dusty: ↑10.2.3, Kick – Dusty. ▪ Rasper: ↑10.2.5, Kick – Rasper. ▪ Snappy: ↑10.2.6, Kick – Snappy.
Using the Drumsynths The Kicks ▪ Bold: ↑10.2.7, Kick – Bold. ▪ Maple: ↑10.2.8, Kick – Maple. ▪ Push: ↑10.2.9, Kick – Push. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.2.1 Kick – Sub The Sub engine is the default engine of the Kick.
Using the Drumsynths The Kicks Element Description Bend Adjusts the amplitude of the pitch envelope applied throughout the sound duration (punch), measured as a percentage. Available values range from 0.0 to 100.0 % (default: 6,8 %). At zero, the sound stays at its original pitch during its entire decaying phase. As the Bend value is increased, an increasing amount of pitch envelope is applied.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Kicks Element Description Bias Adjusts the timbre of the distortion, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At zero, the distortion is symmetrical and introduces mostly odd harmonics. As the Bias value is increased, the distortion becomes more asymmetric and more even harmonics are introduced, resulting in a different tonality, especially at more subtle Gain settings.
Using the Drumsynths The Kicks 10.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Kicks Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 10.2.4 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to section 10.2 “The Kicks” in the MASCHINE 2.0 Manual. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.
Using the Drumsynths The Kicks Element Description Grind Adjusts the grittiness of the “aero” component of the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 45.0%). Low values produce a boomy reverberation. High values result in a crushed, digital “air” squashed into the drum sound. Note that this parameter will only have an effect if Amount is set to a non-zero value (see below).
Using the Drumsynths The Kicks 10.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.
Using the Drumsynths The Kicks Element Description Decay Adjusts the duration of the crispness effect, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 34.0 %). Amount Adjusts the amount of crispness, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this. Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑10.2, The Kicks.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Punch Simultaneously adjusts the amplitude and decay time of the noise in the attack.
Using the Drumsynths The Kicks 10.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Using the Drumsynths The Kicks Element Description Size Adjusts the size of the room, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Amount Adjusts the amount of room effect applied to the drum sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑10.2, The Kicks.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 10.3 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares The Snare panel in the Plug-in Strip. As with every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Snare provides following engines: ▪ Volt (default): ↑10.3.1, Snare – Volt ▪ Bit: ↑10.3.2, Snare – Bit ▪ Pow: ↑10.3.3, Snare – Pow ▪ Sharp: ↑10.3.4, Snare – Sharp ▪ Airy: ↑10.3.
Using the Drumsynths The Snares ▪ Vintage: ↑10.3.6, Snare – Vintage ▪ Chrome: ↑10.3.7, Snare – Chrome ▪ Iron: ↑10.3.8, Snare – Iron ▪ Clap: ↑10.3.9, Snare – Clap For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.3.1 Snare – Volt The Volt engine is the default engine of the Snare. The Volt snare is an electronic snare based on a family of analog classics.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Osc Mode Selects the oscillator mode: If you select Tonal (default), the engine uses two oscillators running in parallel, the higher of which is extra sensitive to velocity for increased expressivity.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Grit Adjusts the intensity of the bitcrushing, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 30 %). NOISE Section Color Adjusts the tone of the digital noise, measured as a percentage.
Using the Drumsynths The Snares 10.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Snares Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %. Advanced Page The Advanced page contains parameters controlling the wires’ sound of the drum.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, but also the “spread” between the individual claps, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Room Adjusts the balance between the dry sound — the claps themselves — and the synthesized room sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At high values, extra “air” is added.
Using the Drumsynths The Snares 10.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mixes containing heavy bass. The adjustment of the wires spectrum provides a great range of snares. It also works very well with the Rasper Kick. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.
Using the Drumsynths The Snares Element Description SPECTRA Section Mode Selects from two different noise types that simulate the wires of the drum. Available modes are A (default) and B. Tune Provides an independent tuning of the snare noise. It relates to the tension of the snare wires on a real snare drum. Available values range from 0.0 to 100.0% (default: 50.0%). Decay Adjusts the length of the sound of the snare wires, independently from the main Decay parameter on the Main page.
Using the Drumsynths The Hi-hats 10.4 The Hi-hats The Hi-hat Drumsynth can generate a variety of hi-hat sounds. The Hi-hat in the Control area (Main page depicted). The Hi-hat panel in the Plug-in Strip.
Using the Drumsynths The Hi-hats As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Hi-hat provides following engines: ▪ Silver (default): ↑10.4.1, Hi-hat – Silver. ▪ Circuit: ↑10.4.2, Hi-hat – Circuit. ▪ Memory: ↑10.4.3, Hi-hat – Memory. In addition, we mention how to use Choke groups with Hi-hat Plug-ins to emulate a closed vs. open hi-hat set up: ↑10.4.
Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage. A short decay produces a closed hat; a long decay gives an open hihat or cymbal. Available values range from 0.0 to 100.0 % (default: 65.0 %).
Using the Drumsynths The Hi-hats Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 10.4.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑10.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage.
Using the Drumsynths The Hi-hats Element Description Seed Selects a random sequence to control the waveform produced by the oscillator. Each of the 31 seed values available produces a different set of random pitches and harmonics. Dissonance Affects the randomization of the oscillator, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 25.0 %). Higher values introduce more randomization, resulting in a more noisy sound.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑10.4, The Hi-hats.
Using the Drumsynths The Hi-hats Element Description Strike Adjusts the attack of the cymbal, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Distress Introduces even more lo-fi grit, crushing and distortion. Available values range from 0.0 % (default) to 100.0 %. Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑9.4, The Plug-in Strip. Main Page Element Description MAIN Section Engine Selects the engine used in the Hybrid plug-in. For more information on the available engines, please refer to section ↑10.4, The Hi-hats.
Using the Drumsynths The Hi-hats Advanced Page Element Description HYBRID Section Bend Adjusts the amount of a pitch envelope for sound design purposes. It is a bipolar control ranging from -100.0 to 100.0% (default: 0.0%) Rattle Adjusts the amount of sizzling from the hi-hat. It is more noticeable with long decays. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Page Like with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section ↑5.1.4, Using Choke Groups where Choke groups are explained in detail. With a single Hi-hat Plug-in, you could also recreate an open-closed hi-hat behavior by disabling Gate and modulating the Decay in your Pattern.
Using the Drumsynths The Toms The Tom panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Tom provides following engines: ▪ Tronic (default): ↑10.5.1, Tom – Tronic. ▪ Fractal: ↑10.5.2, Tom – Fractal. ▪ Floor: ↑10.5.3, Tom – Floor.
Using the Drumsynths The Toms For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Toms Element Description Bend Adjusts the pitch sweep of the sound, measured as a percentage. Available values range from -100.0 % to 100.0 % (default: 0.0 %). At zero the sound stays at its original pitch during its entire decaying phase. At higher values, the pitch bends upwards. At lower values, the pitch bends downwards. Impact Adjusts the amount of attack, measured as a percentage. Available values range from 0.0 % (soft attack) to 100.0 % (maximum attack).
Using the Drumsynths The Toms Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 10.5.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑10.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 48.00 to 72.00. The default value is 48.00. For more details see↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Toms Element Description Color Adjusts a simple filter which affects the brightness of the sound. Available values range from 0.0 to 100.0 % (default: 50.0 %). Glide The tuning of the Fractal tom is locked for each note; in other words the change in tuning is applied only when a new note is received. When the Glide parameter is set higher than zero, the pitch glides smoothly to the new tuning.
Using the Drumsynths The Toms Element Description Transpose Adjusts the pitch transposition of the feedback oscillator bank only, measured in semitones and cents. This is useful for tuning it to the tone oscillator. Available values range from -12.00 to 12.00 semitones (default: 0.00). Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank, measured as a percentage. Available values range from 0.0 to 100.0 % (default).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0 % (default). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From the mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0% (default). Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 80.0%). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Percussions The Percussion in the Control area (Main page depicted). The Percussion panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Percussions ▪ Fractal (default): ↑10.6.1, Percussion – Fractal. ▪ Kettle: ↑10.6.2, Percussion – Kettle. ▪ Shaker: ↑10.6.3, Percussion – Shaker. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.6.1 Percussion – Fractal The Fractal engine is the default engine of the Percussion.
Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑10.5.1, Tom – Tronic). This allows you to create arpeggiated patterns by adjusting the Tune parameter while a sequence of notes is playing.
Using the Drumsynths The Percussions Element Description HARMONICS Section KTr. Mode (Key Tracking Mode) Selects from two key tracking modes: Harmonic (default) and Dissonant. In Harmonic mode all oscillators track the Tune parameter (on the Main page, see above) and your keyboard evenly. Therefore, the drum stays in tune with itself as the Tune parameter is adjusted, and can be played chromatically across a keyboard or the pads.
Using the Drumsynths The Percussions Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Percussions Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Filter Adjusts the bandwidth of the filter applied to the noise source, measured as a percentage. Higher settings result in a wider filter. Lower settings result in a narrower filter, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 70.0 %). Grain Adjusts the timbre of the noise source, measured as a percentage. Higher settings emulate the grainy sound of a real shaker. Available values range from 0.0 to 100.
Using the Drumsynths The Percussions Element Description Accent (Performer mode only) Controls the amount of emphasis on certain notes within the shaker pattern, measured as a percentage. At low values, the groove is static and the notes rather quiet, as if the shaker were being shaken very gently and uniformly. As the parameter is increased, key notes in the pattern are emphasized, creating a classic shaker groove.
Using the Drumsynths The Percussions Element Description Sync The Sync parameter has two options: Lock and Retrig. In Lock mode, the shaker pattern is synced to the song position; that is, it is always in time regardless of when a note is pressed. In Retrig mode, the shaker pattern (including accents) is retriggered on every note on, without quantizing to the nearest beat. In both cases, the tempo of the pattern remains correct for the song. Rate Sets the note division of the shaker pattern.
Using the Drumsynths The Cymbals Element Description Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher values will result in a pattern with more swing. Note that Swing alone will result in quite a mechanical feel — for a more human feel it is recommended to add some Twist as well (see below). Available values range from 0.0 to 100.0% (default: 0.0%). Twist The Twist parameter “skews” the groove of the shaker pattern.
Using the Drumsynths The Cymbals The Crash engine selected for the Cymbal in the Control area (Main page depicted). The Crash engine selected on the Cymbal panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑10.7.1, Cymbal – Crash. ▪ Ride: ↑10.7.2, Cymbal – Ride. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.7.1 Cymbal – Crash The Crash engine creates a wide range of cymbals: from a typical 909-like crash to more acoustic sounding timbres.
Using the Drumsynths The Cymbals Element Description Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%). COLOR Section Density Adjusts the more complexity to the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 100.
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Drumsynths The Cymbals Element Description Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 70.0%). Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%).
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Bass Synth 11 Using the Bass Synth Bass Synth is an internal fun and easy to use monophonic synthesizer module that allows you to quickly create expressive basslines. Like any other Instrument Plug-in, load it into the first Plug-in slot of a Sound to gain full control over its parameters in the Control Panel or direct from your hardware controller. Create rich bass tones and program acid lines with ease.
Using the Bass Synth Bass Synth – General Handling 11.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste a Bass Synth, as well as how to adjust the Bass Synth parameters, and load/save presets, please refer to section ↑6.
Using the Bass Synth Bass Synth – General Handling ◦ The Main page groups the most important parameters. Here you can adjust the Shape of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation (Mod. Amt.) and envelope Decay amounts, the Drive amount and the Glide Time. ◦ The Advanced page provides access to the Glide on/off parameter.
Using the Bass Synth Bass Synth – General Handling 11.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Using the Bass Synth Bass Synth – General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% – 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards. Decay Adjusts the rate at which the sound fades to silence (range: 0.0% – 100%). To increase the decay amount, turn the Decay knob clockwise by clicking and dragging upwards.
Using Effects Applying Effects to a Sound, a Group or the Master 12 Using Effects At each Project level (Sound, Group and Master) it is possible to add effects in form of Plugins. Each Sound, each Group and the Master can have an unlimited number of insert effects loaded in their Plug-ins slots. In each Plug-in slot you can load an Internal, Native Instruments or External Effect Plug-in.
Using Effects Applying Effects to a Sound, a Group or the Master Choose the Channel in Which the Effect Is to Be Inserted 1. If you want to apply the effect to the Master (to process the audio of the whole Project), click the MASTER tab in the top left corner of the Control area. 2. If you want to apply the effect to a Group (to process the audio of the whole Group), click the desired Group on the left of the Arranger, and click the GROUP tab in the top left corner of the Control area. 3.
Using Effects Applying Effects to a Sound, a Group or the Master Load the Effect in a New Slot 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins of the selected channel: The icon lights up. The Plug-in List appears nearby, showing a stack of all Plug-ins already loaded in the channel: In the Plug-in List each Plug-in has its own slot. 2. Click the “+” icon under the last Plug-in in the list (or at the top if the list is empty).
Using Effects Applying Effects to a Sound, a Group or the Master If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows all available Instrument Plug-ins. 3. Click the desired entry in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (for Native Instruments products) or External (for third-party products) submenu at the top of the list.
Using Effects Applying Effects to a Sound, a Group or the Master Notes and Hints on Loading Effects in the Software ▪ Instead of clicking the “+” icon to load the effect in a new slot, you can also click the down-pointing arrow on the right of an existing slot to open the Plug-in menu: The effect selected in the menu will replace the Plug-in currently loaded in that slot. ▪ Instead of using the Plug-in menu, you can also use the Browser to load a particular preset for an effect.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If it’s not already open, open the extended view of the Mixer by clicking the down-pointing arrow at the left of the Mixer: 3. Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display the Plug-in List in each channel strip. Then, put the focus on the channel (Master, Group or Sound) in which you want to load the effect: 1.
Using Effects Applying Effects to a Sound, a Group or the Master 3. To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel strips, in the Mixer’s top row double-click the blank space in the header of the Group containing the desired Sound, then click the header of the desired Sound in the row below.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If you want to apply the effect to the Master (to process the audio of the whole Project), press Button 1 to select the MASTER tab. 3. If you want to apply the effect to a Group (to process the audio of the whole Group), press Button 2 to select the GROUP tab and press the Group button A–H corresponding to the desired Group.
Using Effects Applying Effects to a Sound, a Group or the Master 10. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly. 11. Leave the Plug-in Browser and switch back to Control mode by pressing the 4-D encoder or PLUG-IN. → The effect is loaded in the selected Plug-in slot and it is automatically displayed on your controller.
Using Effects Applying Effects to a Sound, a Group or the Master 12.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably includes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc. Here we provide a reminder of every operation available on the effects both in Arrange view and Mix view.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Bypass an effect Click the FX icon (in Arrange view) or the little square (in Mix view) at the left of the effect name in the Plug-in List. Click again to re-enable the effect. Save the current effect settings as preset Open the Plug-in menu, and select Save As… at the bottom of the menu.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Insert another effect after the Press SHIFT + Button 3. selected effect The Browser automatically opens and lets you select the desired effect preset to be inserted after the Plug-in currently selected. Replace the effect Use the Plug-in Browser (press SHIFT + BROWSE) or the Browser (BROWSE) as described in section ↑12.1.1, Adding an Effect above. Remove the effect Press SHIFT + Button 8.
Using Effects Applying Effects to a Sound, a Group or the Master What Is a Side-Chain Input? If we consider an effect unit that processes the signal incoming at its main input, side-chaining means using a secondary signal (the “side-chain signal”) fed to a secondary input of the unit (the “side-chain input”) to control the behavior of the processing. Usually the amplitude of the side-chain signal will determine how much the main signal will be processed by the unit.
Using Effects Applying Effects to a Sound, a Group or the Master The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access Parameter pages. The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
Using Effects Applying Effects to External Audio Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Center Freq Adjusts the center frequency of the filter. Width Adjusts the bandwidth of the filter.
Using Effects Applying Effects to External Audio If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from your host on any of its eight mono virtual inputs. To know how to route audio in your host to the virtual inputs of the MASCHINE plug-in, please refer to your host documentation. When this is done, go directly to section ↑12.2.2, Step 2: Set up a Sound to Receive the External Input.
Using Effects Applying Effects to External Audio Any audio source plugged into the first input of your audio interface will be available on the In 1 L input of MASCHINE, and so on. See ↑2.6.2, Preferences – Audio Page for more information on the Audio page of the Preferences panel.
Using Effects Applying Effects to External Audio MASCHINE in Plug-in Mode If MASCHINE is running as a plug-in in a host environment, the MASCHINE plug-in can receive audio from the host only. Please refer to your host documentation to find out how to route audio channels to the virtual audio inputs of the MASCHINE plug-in. In this example, we will assume that you routed some audio channels of your host to the first virtual input pair of MASCHINE. 12.2.
Using Effects Applying Effects to External Audio 5. Turn Knob 1 to set the SOURCE to Ext. 1. → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). Method 2: Using the Navigate Page 1. Press Button 5 repeatedly until the Input properties are selected (you should see INPUT at the top left of the right display, under Button 5/6). 2. Press SHIFT + NAVIGATE + pad 1 to select the Audio Parameter page.
Using Effects Applying Effects to External Audio → Now the external audio is routed to your Sound! You can adjust the level of the incoming signal by turning Knob 2 (GAIN). 12.2.3 Step 3: Load an Effect to Process an Input Here we describe the procedure in Arrange view. You can also do this in Mix view — see section ↑12.1.1, Adding an Effect. You can now insert an Effect Plug-in into this Sound so that it processes the incoming audio. 1.
Using Effects Applying Effects to External Audio 3. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (Native Instruments products) or External (third-party products) submenu at the top of the list. → Upon your selection the effect is loaded in a new Plug-in slot and directly starts to process your external audio! Loading an Effect to Process an Input on the Controller On your controller: 1.
Using Effects Creating a Send Effect 6. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly. → The selected effect is loaded in a new Plug-in slot and directly starts to process your external audio. By pressing PLUG-IN or SHIFT + BROWSE again you can switch back to Control mode and adjust the effect. 12.
Using Effects Creating a Send Effect 2. At the far left of the Control area, click the Plug-in icon to display the Plug-ins of the Sound: The icon lights up. The Plug-in List appears. Since we have chosen an empty Sound, the Plug-in List should be empty: 3. Click the “+” icon at the top of the Plug-in List. The Plug-in menu opens and shows a list of all available Instrument and Effect Plug-ins. 4. Click the desired effect in the list.
Using Effects Creating a Send Effect → Upon selection the effect is loaded and its parameters are displayed in the Parameter area. When you load an effect into the first Plug-in slot of a Sound, MASCHINE automatically configures the Sound’s input to receive any signal(s) coming from other Sounds and Groups in your Project and sends them through its own Plug-in slots — in other words, you now have a send effect. You could also load an effect preset from the Browser instead of using the Plug-in menu.
Using Effects Creating a Send Effect 4. Press SELECT + the unlit pad of the empty Sound you want to use (or simply hit its unlit pad if pads are in Group mode). Since we have selected an empty Sound, you see (NONE) under Button 7/8 and these buttons are inactive (i.e. there are no Plug-ins to navigate yet). 5. Press SHIFT + BROWSE to open the Plug-in Browser and browse the available Instrument and Effect Plug-ins. 6. On the left display, turn Knob 1 to select the TYPE to Effect.
Using Effects Creating a Send Effect 9. When you have found the effect you want to use (e.g., the MASCHINE Compressor), press the 4-D encoder or Button 8 to load it. You can also use Button 5/6 to step through the list and load each effect directly. 10. Switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT + BROWSE again). → Now you can edit the effect parameters using Knobs 1–8 and the Page buttons as usual (see ↑2.3.
Using Effects Creating a Send Effect 12.3.2 Step 2: Route Audio to the Send Effect Once you have configured a Sound or Group as send effect (see ↑12.3.1, Step 1: Set Up a Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to that Sound or Group. For this purpose, each Sound and each Group is equipped with an additional two auxiliary outputs available in its Output properties. Here we describe the procedure in Arrange view.
Using Effects Creating a Send Effect 4. Press Button 5/6 to select OUTPUT. The Output properties are shown in the displays of your controller (in the example underneath we show the Output properties of a Sound). 5. Press the right Page button to select the Aux page of parameters. 6. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect.
Using Effects Creating a Send Effect and number followed by the Sound number (in the example underneath we selected the entry A1:S1-1 for the Aux 1 output). 7. Use Knob 2 (Aux 1 LEVEL) to adjust the level of the signal sent to that auxiliary output. The signal of each auxiliary output is taken by default after the main output level control has been applied. This can be changed via Knob 3 (Aux 1 ORDER). For more information, please see section ↑8.1.3, Setting Up Auxiliary Outputs for Sounds and Groups.
Using Effects Creating Multi-Effects When setting up complex routings, please take care to avoid feedback loops! In addition, the following points are worth noting: ▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many Sounds and Groups instead of loading another reverb in each Sound/Group makes a big difference on the CPU load. You can adjust at which extent the reverb must be applied on each Sound/Group via the respective Level controls in their Output properties.
Using Effects Creating Multi-Effects ▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plugin List in a single Sound. ▪ You can rename and colorize each Sound individually according to the effect(s) it contains. ▪ You have a better control on your whole effect sequence from your controller. ▪ You can easily re-arrange your effect sequence by changing the routing between your Sounds.
Using Effects Creating Multi-Effects However, take time to name every Sound in this multi-effect Group after the effect(s) inserted and to give it a name that allows you to recognize it as an effect; remember that you will be choosing this effect from a potentially large list in your user library. In the MASCHINE Library there are already a number of multi-effect Groups tagged Multi FX: Groups of the Multi FX type in the LIBRARY pane.
Effect Reference 13 Effect Reference MASCHINE provides a healthy selection of more than 20 different Effect Plug-ins that can be quickly applied to Sounds, Groups and the Master, all as insert effects. By using MASCHINE’s powerful routing system, it is also easy to setup send effects, build complex effect chains or apply an effect to an external source that is connected to your audio interface, such as an instrument, vocals or a turntable.
Effect Reference Dynamics 13.1 Dynamics 13.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dynamic range. In addition to the legacy Classic mode, the Compressor provides an alternate Feedback mode. If this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the Control area and on your controller).
Effect Reference Dynamics Parameter Description MODE Section Mode Selects between two operation modes: Classic (default setting) and Feedback. Whereas Classic mode generates a cleaner and more precise compression, Feedback mode introduces a subtle change in transient shape and frequency responsiveness. The memory-based envelope detection along with the kneedependent ratio and gain give this mode a typical vintage feel.
Effect Reference Dynamics The Compressor on the controller: MAIN page. Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Level Meters in the Compressor Panel (Plug-in Strip) In the Plug-in Strip, the Compressor panel offers a few extra features not available in the Control area: ▪ The Threshold and Gain faders (corresponding to the Threshold and Gain parameters of the Main page in the Control area) provide level meters for visual monitoring of the input and output levels.
Effect Reference Dynamics Main Page The Gate in the Control area: Main page. Parameter Description DEPTH Section Threshold This value determines the threshold at which the Gate starts to work. Higher values will let only the loudest parts of the signal through the Gate.
Effect Reference Dynamics The Gate on the controller: MAIN page. Side-Chain Input Page The Gate in the Control area: Side-Chain Input page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Gate Panel (Plug-in Strip) In the Plug-in Strip, the Gate panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level. By comparing this input level with the position of the Threshold fader, you can easily see you which parts of the signal will pass through the Gate. 13.1.
Effect Reference Dynamics The Transient Master in the Control area. Parameter Description DEPTH Section Input Gain Adjusts the level of the input signal. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur. Attack Sharpens/softens the attack phases in your signal. With the knob at the middle position, the attack phases are not altered.
Effect Reference Dynamics The Transient Master on the controller. 13.1.4 Limiter The Limiter does two things: firstly it ensures that the signal level stays below 0 dB, thus preventing digital clipping. But it can also increase the overall perceived volume by reducing the threshold. It is recommended to place the Limiter in a Master Plug-in slot. However, please note that the Limiter introduces a small latency.
Effect Reference Dynamics Main Page The Limiter in the Control area: Main page. Element Description MODE Section Mode Selects from two different limiter types. The available modes are Legacy and Transparent. DEPTH Section (Transparent mode only) Threshold This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB; if you want to make your signal louder, dial the Knob to the left. Available values range in decibels from -40.
Effect Reference Dynamics The Limiter on the controller: MAIN page. Side-Chain Input Page The Limiter in the Control area: Side-Chain Input page. The Modulation page contains one parameter: Velocity.
Effect Reference Dynamics Element Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds, and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: ▪ For Groups: [Group name] (e.g., Drums) ▪ For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Dynamics Input Level Meter in the Limiter Panel (Plug-in Strip) In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area: The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control area) provides a level meter for visual monitoring of the input level.
Effect Reference Dynamics Parameter Description DEPTH Section Amount This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal. Curve Controls the compression knee; higher values tend to result in faster and more aggressive gain control. Turbo Turbo intensifies the effect the Maximizer has on the signal by causing the maximizing algorithm to be applied twice. The Maximizer on the controller: MAIN page.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 13.2 Filtering Effects 13.2.1 EQ Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can also be used as a DJ-style cut-and-boost effect. Please note that in the Control area and on your controller the EQ parameters are spread over two pages. The EQ panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. LOW-MID Section Freq Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. HIGH-MID Section Freq Frequency selector for the second mid-frequency band.
Effect Reference Filtering Effects The EQ on the controller: FREQ / GAIN page. Width / Output Page The EQ in the Control area: Width / Output page. Parameter Description LOW-MID Section Width Bandwidth control for the first mid-frequency band. HIGH-MID Section Width Bandwidth control for the second mid-frequency band. OUTPUT Section Gain Gain control for the EQ altogether.
Effect Reference Filtering Effects 13.2.2 Filter Filter with selectable characteristics that can be modulated via LFO or envelope. There are many applications for a filter: it can be used to emulate a synthesizer more realistically or to filter out selected frequencies and create filter-sweeps. If this effect is used in a Sound or a Group, it provides a Side-Chain Input page (in the Control area and on your controller). The Filter panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description FREQ Section Cutoff Controls the cutoff frequency of the filter. Resonance Controls the amount of resonance, i.e. the amount of amplification near the cutoff frequency. It is not available with filter mode Notch. MOD Section Amount This defines how much the Filter gets modulated by the modulation source. Source Here you can select between three different modulation sources: LFO, LFO Sync, and Envelope.
Effect Reference Filtering Effects The Filter on the controller: MAIN page. Side-Chain Input Page The Filter in the Control area: Side-Chain Input page.
Effect Reference Filtering Effects Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 13.2.3 Cabinet The Cabinet Emulation is a cabinet and microphone component that proves full control over all the (post-amp) stages of recording a guitar tone. Cabinet Emulation includes the four cabinet types, and the variable positioning of six different microphones. The Cabinet Emulation effect in the Plug-in Strip. The Cabinet Emulation in the Control area (Main page depicted).
Effect Reference Modulation Effects Element Description ▪ Vintage Cabinet ▪ Modern Cabinet MICROPHONE Section Microphone Selects from six different microphone types, which includes: ▪ Dynamic 57 ▪ Dynamic 421 ▪ Dynamic 441 ▪ Ribbon 121 ▪ Condenser 47 ▪ Condenser 67 Distance Adjusts the distance of the microphone from the cabinet. Available values range from 0.0 to 100.0% (default: 0.0%). OUTPUT Section Mix Adjusts the ratio between the effect (wet) signal and original (dry) signals.
Effect Reference Modulation Effects The Chorus panel in the Plug-in Strip. The Chorus in the Control area. Parameter Description MOD Section Rate The Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated. Amount The amount of the Chorus effect. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Modulation Effects The Chorus on the controller. 13.3.2 Flanger Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the Chorus, but the difference between them is that the Flanger modulates the signal faster, it is equipped with a feedback mechanism, and can be synchronized to the tempo of the Project. The Flanger panel in the Plug-in Strip.
Effect Reference Modulation Effects The Flanger in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Flanger. Feedback Adjusts the amount of output signal fed back into the input. Invert Inverts the Flanger. MOD Section Amount This defines how much the Flanger gets modulated by the modulation source. Source Here you can select the modulation source of the Flanger: available options are LFO, LFO Sync, and Envelope.
Effect Reference Modulation Effects The Flanger on the controller. 13.3.3 FM FM modulates the frequency of the audio signal based on FM synthesis. High frequency settings are useful for adding a subtle “gritty” texture to the input signal. The FM panel in the Plug-in Strip. FM in the Control area.
Effect Reference Modulation Effects Parameter Description FREQ Section Rate This is for adjusting the speed of the FM modulation. Split The Split control determines the extent to which the FM effect is applied to high frequencies via a crossover. Turn to the right to affect higher frequencies. It can be useful to eliminate noise artifacts caused by FM of very high signals. With high Split settings, the effect becomes more “gritty” and crackling.
Effect Reference Modulation Effects The Freq Shifter panel in the Plug-in Strip. The Freq Shifter in the Control area. Parameter Description FREQ Section Coarse This is used to define the basic frequency of the Freq Shifter. Fine Fine-tune the frequency here. OUTPUT Section Feedback Adjusts the amount of output signal fed back into the input. Increasing this parameter will increase the intensity of the effect. Stereo This parameter widens the stereo field of the effect.
Effect Reference Modulation Effects The Freq Shifter on the controller. 13.3.5 Phaser Classic phaser with LFO and envelope modulation. The Phaser panel in the Plug-in Strip. The Phaser in the Control area.
Effect Reference Modulation Effects Parameter Description MAIN Section Frequency This defines the center frequency of the Phaser. Feedback Adjusts the amount of output signal fed back into the input. 8Pole Activating this causes the Phaser to use the 8Pole mode, resulting in a more intense phasing effect. MOD Section Amount This defines how much the Phaser gets modulated by the modulation source.
Effect Reference Spatial and Reverb Effects The Phaser on the controller. 13.4 Spatial and Reverb Effects 13.4.1 Ice This is a special reverb for getting cold and metallic sound. Ice includes a bank of self-oscillating filters for interesting and colorful effects. In the Project “Come Into My Disco” from the MASCHINE factory library, you can hear how it creates deep soundscapes during the break in Scene 6. The Ice panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Ice in the Control area. Parameter Description ROOM Section Color With lower settings, the general sound is a bit more muffled. The higher the Color value, the brighter it sounds. Ice The “ICE” factor: higher values sound more metallic. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Ice on the controller.
Effect Reference Spatial and Reverb Effects 13.4.2 Metaverb Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Reverb it has a much more “synthetic” sound, which is particularly suited for melodic content. The Metaverb panel in the Plug-in Strip. The Metaverb in the Control area. Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies.
Effect Reference Spatial and Reverb Effects Parameter Description Pan This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Metaverb on the controller. 13.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms.
Effect Reference Spatial and Reverb Effects The Reflex panel in the Plug-in Strip. The Reflex in the Control area. Parameter Description ROOM Section Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Smooth With this parameter, you can soften the metallic character of Reflex. Size Adjust the size of the virtual room here. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Spatial and Reverb Effects The Reflex reverb on the controller. 13.4.4 Reverb (Legacy) This reverb is best for most common applications. The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural” sound for all sorts of other signals. The Reverb panel in the Plug-in Strip.
Effect Reference Spatial and Reverb Effects The Reverb in the Control area. Parameter Description ROOM Section Room This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter. Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. POSITION Section Pan This pans the dry signal.
Effect Reference Spatial and Reverb Effects The Reverb on the controller. 13.4.5 Reverb The Reverb effect provides three different modes which are described in this section. The Room Reverb panel in the Plug-in Strip. 13.4.5.1 Reverb Room The Room mode is suited to drum and percussive sounds, and particularly sounds good when used on snares. Modulate the Room Size, and Pre Delay parameters to create special effects.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 1.0s). Reverb Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 50.0%).
Effect Reference Spatial and Reverb Effects The Reverb Room on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 13.4.5.
Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay. Available values range can be adjusted in seconds from 0.5s to 20.2s (default: 2.2s). Room Size Adjust the size of the simulated room.
Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Sets the modulation amount. A value of 0 turns the delay modulation off. Available values range from 0.0 to 100.0% (default: 40.0%).
Effect Reference Spatial and Reverb Effects The Reverb Hall on the controller. EQ page The EQ page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 13.4.5.
Effect Reference Spatial and Reverb Effects The Plate Reverb effect in the Plug-in Strip. The Plate Reverb in the Control area. Parameter Description MAIN Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room). Decay Adjusts the damping of the plate, which directly affects the decay time of the reverb. EQ Section Low Shelf Controls the low-frequency content in the reverberated signal.
Effect Reference Delays Parameter Description Pre Delay Adjusts the time between the original signal and the early reflections. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Reverb Plate on the controller. 13.5 Delays 13.5.1 Beat Delay The Beat Delay is specialized for creating delays that are synced to the tempo.
Effect Reference Delays The Beat Delay panel in the Plug-in Strip. Main Page The Beat Delay in the Control area: Main page. Parameter Description DELAY Section Time The Time parameter defines the delay length in note values. The available values depend on the unit defined by the Unit parameter on the Unit page (see below). They range from half a unit to 16 units. Offset This parameter is used to shift the start of the delay in relation to the tempo.
Effect Reference Delays Parameter Description Crossover Allows for panning the feedback signal rhythmically in the stereo field. Color Defines the basic frequency of the feedback circuit: lower values result in a deeper sound, whereas higher values brighten the sound. Split Controls the difference in frequency between left and right channel. At full left, this control is disabled. OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from -100.
Effect Reference Delays Unit Page The Beat Delay in the Control area: Unit page. Parameter Description UNIT Section Unit 13.5.2 Defines the unit used by the Time and Offset parameters on the Main page. Grain Delay By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is useful for creating ambient textures. Increase Size, Space and Density to quickly transform any sound into an evolving ambient texture.
Effect Reference Delays Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher. Size Defines the length of the grains. Jitter Introduces artifacts into the grains. Reverse Produces a reverse playback of the grain.
Effect Reference Delays The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo 13.5.3 This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo). Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the incoming signal.
Effect Reference Delays The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area. Parameter Description MASTER Section On Enables the effect. Every time this control is switched on, the Grain Stretch effect buffers incoming audio for 32 x 1/16th step. TIME Section Stretch Defines the time-stretch amount. Set to 50.0 % for half speed. Loop Sets a loop length, in 1/16th steps. PITCH Section Pitch Adjusts the pitch of the grains.
Effect Reference Delays Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Grain Stretch on the controller. 13.5.4 Resochord The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord. The results are most effective with non-melodic content (like drums) as the Resochord will print its own harmonic content on to any input material.
Effect Reference Delays The Resochord in the Control area. Parameter Description PITCH Section Mode Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords. In String mode, the 6 combs are centered around one frequency and can be spread for an intense chorus-like effect. Depending on your selection the other parameters in the Pitch area will change.
Effect Reference Distortion Effects Parameter Description OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Resochord on the controller. 13.6 Distortion Effects 13.6.1 Distortion Combining overdrive, feedback and modulation, the Distortion produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates.
Effect Reference Distortion Effects The Distortion panel in the Plug-in Strip. The Distortion in the Control area. Parameter Description MAIN Section Drive Determines the basic amount of distortion. Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Feedback Adjust the amount of output signal fed back into the input. Tone General tonal characteristic of the feedback signal. Tone Mod Modulation introduced in the feedback signal.
Effect Reference Distortion Effects Parameter Description Release This parameter determines how fast the distorted sound dies down when the Gate is enabled. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. The Distortion on the controller. 13.6.2 Lofi The Lofi effect reduces the bit depth (or bit resolution) and Sample rate of the audio signal for an interesting “vintage” effect at subtle settings, and heavy digital distortion at extreme settings.
Effect Reference Distortion Effects The Lofi in the Control area. Parameter Description RESAMPLE Section SR SR stands for Sample Rate and ranges from CD-quality (44.1 kHz) to 99.5 Hz which results in a hissy crackle. BITCRUSH Section Bits Introduces a distortion based on bit reduction. Smooth Reduces the aliasing introduced by the Lofi effect. Stereo Widens the stereo field of the effect.
Effect Reference Distortion Effects 13.6.3 Saturator The Saturator is a flexible tool allowing you to apply various types of saturations to your signal. The Saturator offers three modes: Classic (legacy mode), Tape, and Tube. You can select the desired mode via the Mode selector. Since the three modes provide different sets of parameters, each of them is described separately below. The Saturator panel (here in Tube mode) in the Plug-in Strip. Classic Mode The Classic mode is the legacy mode.
Effect Reference Distortion Effects Classic Mode – Parameter Description Input Controls the input gain of the effect. Increasing Input will also increase the amount of compression performed on the audio signal. Contour Determines how closely the Saturator responds to the input volume. Higher values create a more distorted sound. Drive Adjusts the amount of distortion introduced by the Saturator. The Saturator in Classic mode on the controller.
Effect Reference Distortion Effects Tape Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here. Input Controls the input gain of the effect. This affects the amount of tape distortion and compression. Contour Controls the high frequency roll-off starting frequency. Frequencies above this point will be attenuated. Drive Controls the low frequency boost/cut of the effect.
Effect Reference Distortion Effects Tube Mode – Parameter Description Charge In Tube mode the Saturator provides a negative feedback loop that attenuates the level at the Saturator’s input according to the amount of low frequencies at its output. This notably prevents the bass content “polluting” the saturation. The Charge parameter allows you to adjust the amount of feedback. At 0 (full left) the feedback loop is disabled. Increase the Charge value to strengthen the effect.
Effect Reference Distortion Effects The Analog Distortion panel in the Plug-in Strip. The Analog Distortion in the Control area (Main page depicted). Main Page Element Description MODE Section Mode Select between two distortion modes: Analog and Mulholland (default: Mulholland). DISTORTION Section Saturation Sets the amount of saturation applied to the signal. Available values range from 0.0 to 100.0% (default: 25.0%). Bass Attenuates the low frequencies of the distortion effect.
Effect Reference Perform FX Element Description Tone Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone. Available values range from 0.0 to 100.0% (default: 100.0%). Focus Switches the frequency range of the processed signal, pulling it slightly further forwards in the mix. The effect is more pronounced when Definition is set to lower values. Definition Determines how pronounced the distortion effect is. Available values range from 0.
Effect Reference Perform FX ▪ Ring: Based on a bank of ring modulators, the Ring effect adds a bell-like quality to melodic sound sources. An additional plate reverb lets you pick out individual notes with your finger and have them ring out for several seconds. For more information see section ↑13.7.5, Ring. ▪ Stutter: Stutter is a beat-mangling effect, great for adding glitches and fills to drum patterns and more. For more information see section ↑13.7.6, Stutter.
Effect Reference Perform FX Filter Perform FX in the Plug-in Strip. Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes. Resonance Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing.
Effect Reference Perform FX Flanger Perform FX in the Plug-in Strip. Flanger Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound. STEREO Controls the stereo spread of the effect. Setup Page Parameter Description COLOR Polarity Flips the phase of the signal in the feedback loop.
Effect Reference Perform FX Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated. The feedback is reduced when the effect is disengaged. ECHO Time Controls the delay time, either continuously or in quantized divisions according to the Time Mode.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Replace mode, the dry signal is muted after the first repetition, leaving only the delay tail audible until the effect is released. ▪ In Wet Only mode, the dry signal is muted entirely, which is useful for placing the effect on a send. Feed 13.7.
Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback. Pump Controls the amount of compression applied to the feedback loop. Wet Level Controls the volume of the delayed signal.
Effect Reference Perform FX 13.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick individual notes and keep them ringing into the stratosphere. Ring Perform FX in the Plug-in Strip. Ring Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. OSC Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency. At higher Spread values, the oscillator frequencies become further apart.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Wet Only mode, the dry signal is muted entirely, leaving silence except when the effect is activated. This is useful for using Ring as an instrument with a sustained sound (e.g. a pad) as source material. 13.7.
Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using TS Assign. TS Assign Assigns the control to Length or Pitch. STUTTER Gate Applies a volume envelope to the loop, exaggerating the "stutter" effect, especially at short loop lengths.
Effect Reference Perform FX 13.7.7 Tremolo A no-frills tremolo and vibrato effect that’s perfect for creating motion and wobble on the fly. Instantly add expression with multiple modes, Rate, and Depth ranges, and use the Stereo knob to create auto-pan motion effects. Tremolo Perform FX in the Plug-in Strip. Tremolo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Enables and disables the effect. Position Controls the tremolo and vibrato rate and depth, within the ranges defined by the Min and Max parameters on the second page. TREMOLO Trem/Vibr Controls the balance between tremolo (modulation of amplitude) and vibrato (modulation of frequency/pitch). Vibr Mode Sets the vibrato mode.
Effect Reference Perform FX Setup Page Parameter Description DEPTH RANGE Depth Min Controls the amplitude of the modulation when the parameter position is set to 0%. Depth Max Controls the amplitude of the modulation when the parameter position is set to 100%. DEPTH RANGE Rate Min Controls the rate of the modulation when the parameter position is set to 0%. Rate Max Controls the rate of the modulation when the parameter position is set to 100%. 13.7.
Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect.
Effect Reference Perform FX Parameter Description Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time). SWIRL Delay Time Controls the delay time range. Longer values produce a delay effect. Shorter values result in a comb filtering effect.
Working with the Arranger Arranger Basics 14 Working with the Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. The MASCHINE Arranger has two different views: Ideas view and Arranger view which are also reflected on your controller. Each view has a specific purpose in the workflow of creating a song, but essentially they represent the same content.
Working with the Arranger Arranger Basics The Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene. 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your Project.
Working with the Arranger Arranger Basics Control Area). To mute a Group click the Group letter, for example A1, and right-click ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options available to manage them.
Working with the Arranger Arranger Basics (4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene assigned to the Section along with the Scene's Patterns stacked vertically for each Group in the Project. The Patterns seen here are the same as those seen when viewing the same Scene in the Ideas view. 14.1.1 Navigating the Arranger The Arranger can be scrolled and zoomed in or out to fit your current needs.
Working with the Arranger Arranger Basics Navigating the Arranger Vertically (Groups) A classic scroll bar is available right of the Arranger. It allows you to scroll to hidden Groups in case all of them don’t fit in the Arranger. The classic scroll bar right of the Arranger. You can also adjust the height of the Arranger in order to display more/less Groups at once by dragging its bottom right corner vertically with your mouse: Drag the handle to adjust the Arranger’s height.
Working with the Arranger Arranger Basics 14.1.2 Following the Playback Position in Your Project If the Arranger doesn’t display the entire Loop Range currently selected, at some point the playhead will go beyond the portion of your Project currently displayed in the Arranger and you might loose track of the playback position. To prevent this, you can force the Arranger to follow the playhead: Activate the Follow button to keep following the playhead in the Arranger.
Working with the Arranger Arranger Basics → The FOLLOW button lights up. In the software the Arranger will now switch to the next portion of your Project (with the same zoom factor) as soon as the playhead reaches the end of the portion currently displayed. This way, you always see the portion that is currently played. The Follow function will be automatically disabled as soon as you manually scroll to another portion of the Arranger or of the Pattern Editor.
Working with the Arranger Arranger Basics ◦ If Retrigger is disabled (default setting), the next Section that is selected will play from the same offset to the beginning of the Section: e.g., leaving the current Section on beat 3 will cause the new Section to start playing on its beat 3. This ensures that the global groove of your track is not interrupted! 14.1.3.
Working with the Arranger Arranger Basics → The next time you select a new Section or group of Sections for looping, the new loop will start from the beginning of the first Section (Retrigger enabled) or from the same position as where it left the current Section (Retrigger disabled). 14.1.3.2 14.2 Jumping to Other Sections using the Controller Using Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement.
Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode focuses on Scene selection and manipulation. To enter Scene mode on your controller: 1. Press SHIFT + SCENE (Section) to enter Ideas view. → The software switches to Scene mode.
Working with the Arranger Using Ideas View In addition, the Scene mode provides useful Scene management commands similar to those of the Scene Arrange mode. These are described in the following sections. 14.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View ► To create a new Scene, click the “+” button located after all existing Scene names in the top row of the Ideas view. Click the “+” button to create a new Scene.
Working with the Arranger Using Ideas View 14.2.3 Assigning and Removing Patterns Each Pattern placed in the Arranger (Ideas view or Arranger view) references one of the Patterns available in the Pattern Editor for the corresponding Group. In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots. Any changes made in Arranger view or Ideas view is one and the same.
Working with the Arranger Using Ideas View ▪ The Pattern displays its name and color. ▪ The corresponding Pattern will now be played by that Scene. ▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified. Patterns and the Pattern Editor are described in chapter ↑7, Working with Patterns.
Working with the Arranger Using Ideas View 3. Press the pad corresponding to the Scene in which you want to assign a Pattern. Then create the Pattern for the desired Group: 1. Press the desired Group button A–H to select the Group from which you want to select a Pattern. 2. Press and hold PATTERN. Both your pads and the right display give you an overview of the available Patterns. Dim lit pads indicate the available Patterns.
Working with the Arranger Using Ideas View ▪ The corresponding Pattern will not be played by that Scene anymore. ▪ The Pattern itself is left untouched. ▪ If the Pattern was the longest one in the Scene, the Scene is automatically reduced to the next longest Pattern. Assigning a Pattern to a Scene on the Controller Assigning a Pattern is done in Pattern mode. First select the Scene to which you want to assign a Pattern: 1. Press NAVIGATE + Button 2 (IDEAS) to enter Ideas view. 2.
Working with the Arranger Using Ideas View ▪ The corresponding Pattern will now be played by that Scene. ▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified. For further information regarding the Pattern mode, please refer to section ↑7.7, Managing Patterns. Removing a Pattern from a Scene on the Controller Removing a Pattern is also done in Pattern mode: ► To remove the Pattern for the selected Group from the selected Scene, press PATTERN + Button 2 (REMOVE).
Working with the Arranger Using Ideas View ► Select the desired Scene by clicking its name at the top of the Ideas View: → The Scene name is now highlighted to indicate that this Scene is selected. Once a Scene Has Been Selected… Once you have selected a Scene, the following happens: ▪ The selected Patterns slots for the focused Scene are highlighted. The Pattern slot with a white frame is displayed in the Pattern Editor. Unselected Pattern slots are dimmed.
Working with the Arranger Using Ideas View If the last Scene bank is selected and not empty, pressing Button 8 will create a new, empty Pattern bank — see section ↑14.2.6, Creating and Deleting Scene Banks for more information. Selecting a Scene To select a Scene in the current Scene bank: 1. Press SHIFT + SCENE (Section) to enter Ideas view. 2. Press SCENE (Section) + the dim lit pad corresponding to the cell of the desired Scene on the right display.
Working with the Arranger Using Ideas View → The Scene is deleted with all its Patterns. Scenes to the right shift to fill the gap. Instead of deleting the Scene, which removes it entirely, you can also clear the Scene: This will only remove its content — the Scene will stay in your arrangement, but empty. For more information on clearing Scenes, see section ↑14.2.7, Clearing Scenes. Deleting Scenes on the Controller To delete a Scene on your controller: 1.
Working with the Arranger Using Ideas View 14.2.6 Creating and Deleting Scene Banks A new Scene bank is automatically created once you fill an entire bank with Scenes. Deleting Scene Banks using the Controller To delete a Scene bank: 1. Press SHIFT + SCENE (Section) to enter Ideas view. 2. Press and hold SCENE (Section) to enter Scene mode. 3. Press Button 7 and 8 to select the desired Scene bank. 4. Press SHIFT + Button 6 (DELETE) to delete the selected Scene bank.
Working with the Arranger Using Ideas View ► Right-click ([Ctrl]-click on macOS) the name of the Scene you want to clear, and select Clear from the context menu. → The Scene is cleared of all Patterns. 14.2.8 Duplicating Scenes The Ideas view allows you to duplicate a Scene. This feature works in connection with settings made in the Default page of the Preferences.
Working with the Arranger Using Ideas View → The selected Scene is duplicated in accordance with the setting in the Default page of the Preferences. You can also duplicate a Scene by clicking the Scene slot header while holding [Alt] key (or [Ctrl] on PC), and dragging the mouse. After the mouse is released a duplicate copy of the Scene is created. Duplicating a Scene on Your Controller To duplicate a Scene on your controller: 1. Press SHIFT + SCENE (Section) to enter Ideas view. 2.
Working with the Arranger Using Ideas View In the software you can reorder Scenes in the Ideas view. To reorder Scenes: 1. Click and hold the Scene name in the Ideas view. 2. While holding the mouse button, drag your mouse horizontally to the desired location. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Scene. 3. When the insertion line appears at the desired location, release the mouse button. → The Scene takes its new place.
Working with the Arranger Using Ideas View 14.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique. This will then allow you to work on a new separate copy of the Scene and its Pattern in isolation. Use Unique in combination with the Duplicate option. For more information on the Duplicate option, read: ↑14.2.8, Duplicating Scenes.
Working with the Arranger Using Ideas View 5. Press Button 2 (UNIQUE). → A unique copy of the Scene and its Patterns are created. 14.2.11 Appending Scenes to Arrangement Once you are satisfied with a Scene you can append it directly to your arrangement in the Arranger view.
Working with the Arranger Using Ideas View 4. Press Button 3 (APPEND). 5. Press the pad corresponding to the Scene you want to append. You can do this more than once, tapping a series of pads will add all of those Scenes into Sections at the end of the Arranger in one quick step. Release the SCENE (Section) button or turn off APPEND when done. 14.2.12 Naming Scenes By default, Scenes are named Scene 1, Scene 2, Scene 3, etc. You can rename Scenes and use custom names of your own.
Working with the Arranger Using Ideas View 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software. In this case, click anywhere else in the MASCHINE plug-in window to confirm the name you have entered. 14.2.13 Changing the Color of a Scene You can change the color of each Scene in the software.
Working with the Arranger Using Arranger View By default, Scenes are white. But you can choose another default color for Scenes in Preferences > Colors > Scene Default. See section ↑2.6.8, Preferences – Colors Page for more information. Once you have set a custom color for a Scene as described above, the Scene will retain its color when you move it in the Arranger view, and the color will be stored with the Scene when you save your Project.
Working with the Arranger Using Arranger View ► To open Arranger view, click the Arranger view button at the left on the Arranger. → The Arranger view appears on the right. Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank. Slots containing a Section show a colored or white bar on the left along with the Section name. The other slots contain no Section.
Working with the Arranger Using Arranger View Closing the Section Manager ► To close the Section Manager, click anywhere outside it. Section Manager vs. Arranger’s Top Row If all Section operations can be done in the Section Manager, most of them can also be done in the top row of the Arranger: The top row of the Arranger.
Working with the Arranger Using Arranger View 1 2 3 4 5 6 7 8 9 10 The Section Arrange mode in the controller displays. In Section Arrange mode, the displays of your controller show the following: ▪ The left display provides an overview of the arrangement for your entire Project: ◦ Similarly to the Arranger in the software, you will find Sections organized in columns and Groups organized in rows. ◦ The overview includes a timeline (1) and shows the current Loop Range (4).
Working with the Arranger Using Arranger View ◦ Horizontally, the displayed time interval is variable: Turn Knob 5 and 6 to zoom and scroll in the right display to your liking, respectively. You can also enable FOLLOW and let the right display follow the playhead as it travels through your arrangement — see section ↑14.1.2, Following the Playback Position in Your Project for more information. ◦ At the top of the right display you see the Section names (7) with the timeline (8) underneath.
Working with the Arranger Using Arranger View → Your controller switches to Section mode. This is indicated by the highlighted SECTION in the upper-left corner of the left display. Apart from a few commands, the main difference between the Section mode and the Section Arrange mode is found in the right display of the controller: In Section mode you see all Section slots of the selected Section bank represented as a square of 4x4 cells: ▪ The highlighted cell indicates the selected Section slot.
Working with the Arranger Using Arranger View Click the “+” button to create a new Section. → A new empty Section is created after all existing Sections. You can then assign a Scene using your controller and software — see section: ↑14.3.3, Assigning a Scene to a Section. Creating a New Section on Your Controller To create a new Section on your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View ► Right-click ([Cmd] + click on macOS) a Section slot and select Append in the context menu, then for example, select Scene 2 from the submenu. → The selected Scene is added to the Section. By repeating this for each new Section, you can quickly add Scenes to the Arranger. To add a Scene to a Section in the Arranger view using your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View ► Select the desired Section by clicking its name at the top of the Arranger view: → The Section name is now highlighted and underlined to indicate that this Section is selected. Selecting a Section and a Section Bank in the Section Manager To select a Section in the Section Manager, do the following: 1. Open the Section Manager (see ↑14.3.1, Section Management Overview). 2.
Working with the Arranger Using Arranger View 3. Select the desired Section by clicking the slot with its name in the list on the left or by clicking its cell in the selected pad grid on the right. → The Section slot and the corresponding cell on the right are now highlighted to indicate that this Section is selected.
Working with the Arranger Using Arranger View Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank than the one currently selected, you first need to select that other Section bank: ► Press ARRANGE, the press Button 7 or 8 to select the previous or next Section bank, respectively. → The desired Bank is selected.
Working with the Arranger Using Arranger View ◦ If playback is off the playhead immediately jumps to the beginning of the selected Section. If playback is on the playhead jumps according to the Perform Grid settings — see section Jumping to Other Scenes. ▪ If you have selected a Section within the current Loop Range via the Page buttons, the Loop Range and the playback position stay untouched.
Working with the Arranger Using Arranger View ▪ If playback is off the playhead immediately jumps to the beginning of the selected Section. If playback is on the playhead jumps according to the Perform Grid settings — see section Jumping to Other Scenes. 14.3.5 Reorganizing Sections Reordering Sections is essential to organize your Sections and arrange your song. In the software you can reorganize sections both in the Arranger and in the Section Manager. To move a Section: 1.
Working with the Arranger Using Arranger View → The Section takes its new place. On your controller in Section mode, you can now select this Section via the pad corresponding to its new location. Moving a Section using the Controller To move a Section using your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press and hold SCENE (Section) to enter Section mode (you can pin it by pressing Button 1). 3.
Working with the Arranger Using Arranger View ▪ Auto Length: By default, the length of a Section corresponds to the longest Pattern used in the referenced Scene. Inserting a new Pattern that is longer than the Section automatically extends the Section. Removing the longest Pattern from the Section automatically shrinks the Section. Extending/shrinking the longest Pattern automatically extends/shrinks the Section accordingly. ▪ Manual Length: A Section can be manually adjusted to a set length.
Working with the Arranger Using Arranger View When the right end marker of a Section is extended beyond the length of a Scene, the referenced Patterns are repeated. When the right end marker of a Section is dragged so it is shorter than the referenced Scene, only the part visible part of the Patterns are audible. To lengthen a Section: ► Click and drag the end marker of the Section to the right. → The Scene will be repeated if the adjustment is longer than the referenced Pattern.
Working with the Arranger Using Arranger View ▪ The value set in the Arrange Grid is used for length increments. For more information on Arrange Grid, read: ↑14.6, The Arrange Grid. ▪ When [Shift] is pressed while changing the length, the value set in the Step Grid is used. For more information on Step Grid, read: ↑7.1.7, Adjusting the Step Grid and the Nudge Grid. ▪ The minimum length a Section marker can be dragged without modifier is one Arrange Grid increment.
Working with the Arranger Using Arranger View → The Section length is adjusted accordingly. 14.3.7 Assigning and Removing Patterns Each Pattern placed in the Arranger (Ideas view or Arranger view) references one of the Patterns available in the Pattern Editor for the corresponding Group. In the Arranger view, each column represents a Section and each row represents a Group.
Working with the Arranger Using Arranger View 2. In the Pattern Editor, open the Pattern Manager and click the desired Pattern slot to select it (see section ↑7.7.2, Selecting Patterns and Pattern Banks for more information). → Upon your selection, the Pattern is inserted into the selected Section: ▪ The Pattern replaces any previous Pattern for that Group in the Section. ▪ The Pattern displays its name and color. ▪ The Pattern is inserted at the beginning of the Section.
Working with the Arranger Using Arranger View ► To remove a Pattern, right-click it (on macOS: [Ctrl]-click it). → The Pattern is removed from the Section: ▪ The corresponding Pattern will not be played by that Section anymore. ▪ The Pattern itself is left untouched. ▪ If the Pattern was the longest in the Section, the Section is automatically reduced in size to the next longest Pattern. 14.3.8 Duplicating Sections The Arranger view allows you to duplicate a Section.
Working with the Arranger Using Arranger View → The selected Section is duplicated in accordance with the setting in the Default page of the Preferences. Duplicating a Section on Your Controller To duplicate a Section on your controller: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press SCENE (Section) then the pad corresponding to the Section you want to duplicate. 3. Press any unlit pad to duplicate the Section.
Working with the Arranger Using Arranger View 1. Right-click (or ([Ctrl]-click on OS X) the Section you want to make unique in the Timeline. The context menu will open. 2. Click Unique. → The Section will become independent of any Sections it was linked to and the Patterns can be edited without affecting any the original Sections. Making a Section Unique on the Hardware To make a Section unique on the hardware: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View 1. In the top row of the Arranger view, right-click ([Ctrl]-click on macOS) the name of the Section you want to remove and select Remove from the context menu: → The Section is removed from the arrangement. The next Sections shift ahead to fill the gap. Instead of removing the Section, which removes it entirely, you can also clear the Section: This will only remove its content — the Section will stay in your arrangement, but empty.
Working with the Arranger Using Arranger View Alternate Method 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2. Press and hold SCENE (Section) to enter Section mode. 3. Press Button 7 and 8 to select the desired Section bank. 4. Press ERASE + the pad corresponding to the Section you want to remove. → The Section is removed from the arrangement. The next Sections shift ahead to fill the gap.
Working with the Arranger Using Arranger View the pad grid and select Rename from the context menu. The Scene name is highlighted and editable. 2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change). → The Scene is renamed. If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some function of the host software.
Working with the Arranger Using Arranger View 1. Right-click ([Ctrl]-click on macOS) the name of the desired Section in the Arranger view, and select Clear from the context menu. → The Section is cleared. 14.3.12 Creating and Deleting Section Banks A new Section bank is automatically created once you fill an entire bank with Sections. Deleting Section Banks using the Controller To delete a Section bank: 1. Press SHIFT + SCENE (Section) to enter Arranger view. 2.
Working with the Arranger Using Arranger View 14.3.13 Enabling Auto Length By default a Section is set to Auto Length allowing it to resize automatically to the content within the Section. If the length of a Section is manually adjusted by truncating or lengthening the Section end marker, Auto Length is discarded and the Section automatically set to Manual Length.
Working with the Arranger Using Arranger View 3. Press the corresponding pad to select a Section. 4. Press Button 3 AUTO LENGTH to enable Auto Length. → The selected Section is automatically resized to fit the content of the Patterns within the assigned Scene. Any manual adjustments that were previously made are discarded. 14.3.14 Looping Activate a Loop to repeatedly play a section of the Arrangement.
Working with the Arranger Playing with Sections ► Click and drag the Loop range left or right. → The whole Loop range is moved. Activating or Deactivating a Loop in the Software To activate a Loop using the software: ► Click the Loop button in the header to activate or deactivate the loop. When the Loop is activated the Sections within the Loop range are repeated. 14.4 Playing with Sections MASCHINE provides you with various tools to precisely control which Section has to be played, and when.
Working with the Arranger Playing with Sections This may also be necessary if you are composing a studio track in your host sequencer and want to control which Scenes or Sections the MASCHINE plug-in has to play. This is where the MASCHINE tools described in the following sections come in handy. 14.4.1 Jumping to another Playback Position in Your Project You can use the timeline above the Scene headers in the Arranger to set the playback to the desired position.
Working with the Arranger Triggering Sections or Scenes via MIDI Example with playback on: Assuming that the Pattern Grid resolution is set to one bar, if you click around the 8.3 mark (3rd beat of the 8th bar) in the timeline when the playhead reaches the 3.2 mark (2nd beat of the 3rd bar), the playhead will jump from the 3.2 to the 8.2 mark (2nd beat of the 8th bar) and continue from there. You can also change the playback position by switching to another Scene.
Working with the Arranger Triggering Sections or Scenes via MIDI To enable or disable Section/Scene MIDI Change feature, do the following: 1. In the MASCHINE Header, click the cog wheel icon. 2. Click MIDI Change from the menu. → The MIDI Change dialog appears. In the MIDI Change dialog: 1. In Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be triggered. In Section option, click the Enabled checkbox to enable Sections in the Arranger view to be triggered. 2.
Working with the Arranger The Arrange Grid 4. In the Channel submenu, select the MIDI channel the Scenes or Sections should receive MIDI messages from. 14.6 The Arrange Grid The Arrange Grid is used to quantize all modifications related to the timeline.
Working with the Arranger The Arrange Grid 2. Click the current Arrange Grid value to open the drop-down menu. 3. Select a new value for the Arrange Grid. → The selected Arrange Grid value is applied. On your controller: 1. Press the SHIFT + FOLLOW (Grid) button to access the Grid page. 2. Press Button 3 to select ARRANGE. 3. Press Button 5, or the corresponding pad to select an Arrange Grid value. → The selected Arrange Grid value is applied.
Working with the Arranger Quick Grid → The selected Arrange Grid value is applied. To Disable the Arrange Grid ► Press Button 8 or pad 16 to select OFF. → The Arrange Grid is disabled. 14.7 Quick Grid The Quick Grid setting allows you to quickly and conveniently set the most common Pattern lengths using your controller. Quick Grid is only accessible from your controller.
Sampling and Sample Mapping Opening the Sample Editor 15 Sampling and Sample Mapping MASCHINE allows you to record internal or external audio signals using your audio interface without having to stop the sequencer. This is a useful feature if you want to record your own Samples, or rearrange loops that you have created yourself using MASCHINE. You can apply various types of destructive processing to the recorded audio or to any Sample you want to use in a Sound.
Sampling and Sample Mapping Recording a Sample 2. Click the Sample Editor button on the left of the Pattern Editor to switch to the Sample Editor. The Sample Editor appears and displays the Sample content of the focused Sound. 3. In the Sample Editor, click the desired tab at the top to access the corresponding page: ▪ The Record page allows you to record new Samples: ↑15.2, Recording a Sample. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑15.3, Editing a Sample.
Sampling and Sample Mapping Recording a Sample The Record page in the software. 15.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the RECORDING section allow you to adjust which source should be recorded and how the recording should start and stop. Adjusting the source and mode of the recording in the software.
Sampling and Sample Mapping Recording a Sample ► Click the INPUT selector to choose between the available inputs: ▪ If SOURCE is set to Ext. Ster., you can select either of MASCHINE’s four external stereo inputs In 1–4. ▪ If SOURCE is set to Ext. Mono, you can select either of MASCHINE’s eight external mono inputs: the left (“L”) or right (“R”) channel of each input pair In 1–4. ▪ If SOURCE is set to Internal, you can select the output of any available Group or the Master.
Sampling and Sample Mapping Recording a Sample Any input level reaching the slider position will start the recording! Double-click the slider to reset the threshold to its default value (-12 dB). Monitoring the Input Signal Visually controlling the input signal. The level meters above the RECORDING section show you at any time the level of the selected audio source. For example, this can come in handy to adjust the appropriate threshold in Detect mode.
Sampling and Sample Mapping Recording a Sample 15.2.3 Arming, Starting, and Stopping the Recording The Start and Cancel buttons. ► Click Start to arm the recording. After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section ↑15.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Sync mode: ◦ The recording will start at the next bar.
Sampling and Sample Mapping Recording a Sample In any case the recorded audio will be stored in the Sound that was under focus as you started the recording. When the Recording is Done… When the recording is done, the following things happen: ▪ The recording is named and stored as a file on your hard disk (see section ↑15.2.6, Location and Name of Your Recorded Samples). ▪ Its waveform appears in the waveform display and its name appears in the information bar above.
Sampling and Sample Mapping Recording a Sample 15.2.4 Arming, Starting, and Stopping the Recording on Your Controller Starting and stopping the recording. ► Press Button 5 (START) to arm the recording. After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section ↑15.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Sync mode: ◦ The recording will start at the next bar.
Sampling and Sample Mapping Recording a Sample ◦ Once the recording has started, press Button 5 (STOP) to stop the recording (it stops immediately) or Button 6 (CANCEL) to cancel the recording (the recorded audio will not be saved). If you want to start and stop the recording manually, you can set the MODE to DETECT, dial the THRESHOLD down to OFF and start the recording by pressing START (Button 5). To stop recording, press STOP (Button 6).
Sampling and Sample Mapping Recording a Sample 15.2.5 Checking Your Recordings You can visualize the last recordings you have made in the current Sound: 4 3 1 2 5 The waveform display and the information bar displaying a recording. (1) Waveform display Shows the waveform of the recording currently selected in the Recording History (5) — by default your last recording: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2). ▪ When the Sample is played back (e.
Sampling and Sample Mapping Recording a Sample Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the recorded Sample under another name and/or to another location on your computer.
Sampling and Sample Mapping Recording a Sample ▪ Click the little cross at the top right corner of a mini waveform to delete this particular recording. ▪ Drag any mini waveform to another Sound slot to load it in that Sound. Right-click (macOS: [Ctrl]-click) any mini waveform in the Recording History to open a context menu with the following commands: Command Description Delete Deletes the displayed Sample from the Recording History.
Sampling and Sample Mapping Recording a Sample Using the Recording History All the recordings you have made since you opened the current Project are stored in the Recording History and displayed as mini waveforms on the left display. The following actions are available: ▪ To navigate your various recordings, press Button 7 (PREV) and Button 8 (NEXT). ▪ The selected recording is automatically loaded in the Sampler Plug-in and ready to be played.
Sampling and Sample Mapping Editing a Sample 15.3 Editing a Sample The Edit page of the Sample Editor in the software and its equivalent the EDIT page of the Sampling mode on your controller allow you to adjust the start and end points of a Sample or Slice and to apply various destructive audio processing functions to any part of the Sample. Which Sample Is Shown in the Edit Page? The Edit page (EDIT page on your controller) always displays the Sample of the Zone currently selected (see section ↑15.5.
Sampling and Sample Mapping Editing a Sample 2 3 1 4 7 5 6 The Edit page in the software. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides following tools: ▪ Drag any Sample onto the waveform to replace the current Sample for the focused Zone. If there is no Sample loaded yet, this automatically loads a Sampler Plug-in in the Sound and creates a Zone over the entire key and velocity ranges for the dragged Sample.
Sampling and Sample Mapping Editing a Sample ▪ Loop range: If a loop has been defined in the Sample, it is also indicated on the waveform. You can then adjust the loop by dragging its borders, and move the entire loop by dragging its title bar. Loops can be created and adjusted in the Zone page — see section ↑15.5.4, Selecting and Editing Zones in the Map View. Note that the loop will always stay within the play range.
Sampling and Sample Mapping Editing a Sample Displays the file name and the length of the recorded Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑9.2.6, Using the Cue Bus for more information). Click the little circle (or pair of circle) at the far right to switch the waveform display (1) between single-channel and two-channel display. (3) Timeline Shows the time scale in seconds.
Sampling and Sample Mapping Editing a Sample Using the EDIT Page on Your Controller ► In Sampling mode, press Button 2 to access the EDIT page. The EDIT page on the controller. The right display shows the waveform of the selected Sample: ▪ Turn Knob 5 to zoom in on the waveform of the Sample and Knob 6 to scroll through it. ▪ Above the waveform, the information bar indicates the name and length of the Sample.
Sampling and Sample Mapping Editing a Sample The EDIT page on the controller, page 1 of 2: adjusting the play range of the Sample. Parameter Description START (Knob 1) Adjusts the start point of the play range in the Sample. END (Knob 2) Adjusts the end point of the play range in the Sample. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. In the waveform on the right display, the regions outside the play range are grayed out.
Sampling and Sample Mapping Editing a Sample Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. On the right display, the selection range is highlighted. Changing the play range automatically resets the selection range to the new play range. Audio Editing The EDIT page provides several audio editing functions to process your Sample. Available via Button 5–8 above the right display, these functions are described in detail in the next section ↑15.3.2, Audio Editing Functions.
Sampling and Sample Mapping Editing a Sample Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM. (Normalize) This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample. FADE IN This applies a fade in to the selected region of the Sample. FADE OUT This applies a fade out to the selected region of the Sample. DC CORRECT This removes the DC offset.
Sampling and Sample Mapping Editing a Sample The stretch controls at the bottom of the Edit page. These controls allow you to adjust the parameters of the time stretching / pitch shifting function before applying it to the selected region. Pitch shifting and time stretching can be applied independently. The following parameters are available: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.
Sampling and Sample Mapping Editing a Sample Parameter Description SRC BPM (Source BPM, Beat mode only) Allows to define the tempo of the original audio (in BPM). This tempo is defined in different ways according to the AUTO DTCT value: If AUTO DTCT is enabled, you can set the length (in bars) of the original audio. You can choose between 1/2, 1, and 2 bars. The number between brackets indicates the resulting tempo (in BPM) derived from the number of bars you have set and the computed tempo value.
Sampling and Sample Mapping Editing a Sample Audio Editing Functions on the Controller The EDIT page additionally provides several audio editing functions to process your Sample. Audio editing functions on the right display of the controller. 1. Use Button 5 and 6 to select the desired audio function. 2.
Sampling and Sample Mapping Editing a Sample Parameter Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORMALIZE This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample. FADE IN This applies a fade in to the selected region of the Sample. FADE OUT This applies a fade out to the selected region of the Sample. FIX DC This removes the DC offset.
Sampling and Sample Mapping Editing a Sample Parameters for the Stretch function. Following parameters are available via Knob 1–8: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.00 to leave the original pitch untouched. FORMANT C Enables/disables the formant correction.
Sampling and Sample Mapping Editing a Sample Parameter Description AUTO DTCT If AUTO DTCT (Auto Detection) is enabled, MASCHINE automatically detects the tempo of the original audio. (Auto Detection, Beat mode only) SRC BPM (Source BPM, Beat mode only) SRC BPM (Source BPM) allows to define the tempo of the original audio (in BPM). This tempo is defined in different ways according to the AUTO DTCT value: If AUTO DTCT is enabled, you can set the length (in bars) of the original audio.
Sampling and Sample Mapping Slicing a Sample ► Once you have set the parameters to the desired values, press Button 8 (APPLY) to apply the pitch shifting and/or time stretching to the selected region in the Sample. If you don’t want to use the Stretch function, press Button 7 (SETTINGS) again to switch back to the audio function selection. 15.
Sampling and Sample Mapping Slicing a Sample ▪ You can also drag a Sample onto the focused Sound slot or directly to the Slice page from the Browser or from your operating system. It will then appear on the page and replace any Sample already loaded in that Sound. 15.4.1 Opening the Slice Page In the software, slicing a Sample is done in the Slice page of the Sample Editor. ► In the Sample Editor, click the Slice tab at the top to open the Slice page.
Sampling and Sample Mapping Slicing a Sample The SLICE page 1 on the controller. 15.4.2 Adjusting the Slicing Settings At the bottom of the Slice page, you can adjust the settings used to define where the various Slices will be created in the Sample. Adjust the slicing settings at the bottom of the Slice page. Any change to these settings will directly affect the number and position of the Slice markers displayed on the waveform above.
Sampling and Sample Mapping Slicing a Sample Parameter Description SLICER Section MODE Here you can select either Split, Grid, Detect or Manual: Detect mode: The Sample will be sliced according to its transients. Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values. Manual mode: Manually enter slice points using the pads on your controller, or adjust the start and end points of a slice.
Sampling and Sample Mapping Slicing a Sample Parameter Description MONO The Sample Slicer Mono option when activated automatically sets the Voice and Choke Group of all sample slices to 1 when slicing to a Group. This time saving feature is useful when you don’t want to have lots of samples triggered or repeating at the same time, for example, when you slice a drum loop and trigger the individual hits to form a new pattern.
Sampling and Sample Mapping Slicing a Sample Adjust the slicing settings via Knob 1–4. Any change to these settings will directly affect the number and position of the Slice markers shown in the waveform on the displays. Selecting and Pre-Listening the Slices with the Pads At any time, the proposed Slices are also available on your pads: The fully lit pad indicates the selected Slice, while the dim lit pads indicate the other Slices.
Sampling and Sample Mapping Slicing a Sample Slicing Parameters Following parameters are available: Parameter Description TIME Section MODE Here you can select either DETECT, SPLIT, GRID, or MANUAL: Detect mode: The Sample will be sliced according to its transients. Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values.
Sampling and Sample Mapping Slicing a Sample Parameter Description BPM (BPM Mode) Selects how the tempo is defined: If you select AUTO, MASCHINE will calculate the tempo automatically. If you select MANUAL, you can enter the tempo in BPM manually. ADJUST If BPM is set to AUTO, you can choose between the tempo that MASCHINE detected, or half or double of that tempo. If BPM is set to MANUAL, you can adjust the tempo manually.
Sampling and Sample Mapping Slicing a Sample 15.4.3 Live Slicing Live Slicing is a quick and intuitive way to add slices to a sample using the pads on your controller. The first pad is used to trigger the sample and the subsequent pads are used to add slice points as required. If necessary, the start and end points of the slices can then be finetuned using Edit mode. Live Slicing is only available from your MASCHINE controller. 15.4.3.
Sampling and Sample Mapping Slicing a Sample 15.4.3.2 Delete All Slices The DELETE ALL option in SAMPLING EDIT mode is a quick and convenient way to delete all Slices at once from a sample using your controller. 15.4.4 Manually Adjusting Your Slices In addition to the Detect, Split, Grid, and Manual modes that create Slices automatically (see section ↑15.4.
Sampling and Sample Mapping Slicing a Sample Shows the selected Sample with a couple of spread vertical lines in the waveform: this is where the Slices are going to be applied (i.e. cut). ▪ Hover a Slice with the mouse to select it (it is highlighted). Little “S” and “E” markers appear at the bottom of the Slice borders to indicate the start and end point of that Slice, respectively. ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2).
Sampling and Sample Mapping Slicing a Sample By moving the start and end points of Slices independently, you can create overlapping Slices or gaps between Slices. These default mouse actions are valid only if the SLICE and REMOVE buttons are disabled in the edit tools (5). Enabling any of them provides alternative mouse controls described below.
Sampling and Sample Mapping Slicing a Sample ◦ Click the start border of a Slice to delete that border and merge the Slice with the previous one. ◦ Click inside a Slice (i.e. anywhere between its borders) to remove the entire Slice. The corresponding part of the Sample is grayed out and won’t be exported as Slice. ▪ DELETE ALL: Click the DELETE ALL button to delete all proposed Slices and start slicing from scratch again. The SLICE and REMOVE buttons are mutually exclusive.
Sampling and Sample Mapping Slicing a Sample The Edit mode in the SLICE page. Use the page button to access the following parameters and commands: Page / Parameter Description Slicer Page Mode Select the Slicer edit mode. AUTO-SNAP The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads. It can be turned off so that slice points are instead placed exactly where you trigger them.
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description END (Knob 4) Adjusts the end point of the selected Slice. Hold SHIFT when turning the Knob to adjust the parameter in finer increments. Note that moving the end point of a Slice does not simultaneously move the start point of the next Slice — in opposition to adjusting the START parameter (see above).
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description SPLIT (Button 5) Splits the sample in half, or adds a Slice during sample playback. REMOVE (Button 6) Removes the start border of the selected Slice, thereby joining this Slice with the previous Slice. DELETE ALL (Button 7) Removes all Slices. APPLY… (Button 8) Applies the Slices. 15.4.5 Applying the Slicing Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑15.4.
Sampling and Sample Mapping Slicing a Sample 3 1 2 You can apply the slicing in various ways. (1) Apply button Exports the Slices to the same Sound. If you click Apply, the Slices will be mapped to individual notes of this Sound, the Sample Editor will be replaced by the Pattern Editor in Keyboard view, and the pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads.
Sampling and Sample Mapping Slicing a Sample ◦ The pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads. ◦ Depending on the setting of the Pattern Creation selector (3), notes will be automatically created for each Slice (see below).
Sampling and Sample Mapping Slicing a Sample ◦ If Slices are exported to a Group the sequence of notes will contain one note for each Sound containing a Slice. Any existing notes for these Sounds will be replaced. Notes for other Sounds in the Pattern will stay untouched. ▪ No Pattern: No Pattern is created, and the current Pattern is left untouched.
Sampling and Sample Mapping Slicing a Sample The root note parameter is shared among all Sounds in a Group. However, when applying slices to a Sound, these slices will always start at the lowest possible note, to make room for the maximum number of slices. If you already have Sounds in a Group, the root note is not changed after applying slices, in order to not change the behavior of the existing Sounds.
Sampling and Sample Mapping Slicing a Sample In this Selection mode, you can choose to export the Slices to a Sound or to a Group. To export the Slices to a Sound: 1. Select the Group containing the target Sound by pressing its Group button A–H. If your Project has more than eight Groups, you can use Button 3 and 4 to first select the desired Group bank. The selected Group button starts flashing and the corresponding Group is highlighted on the left display.
Sampling and Sample Mapping Mapping Samples to Zones At any time you can press Button 7 (CANCEL) to cancel the export and return to the SLICE page. Exporting a Single Slice Instead of exporting all Slices, you can also export the selected Slice only: 1. Press Button 7 (APPLY TO). The controller switches to the Selection mode described above. 2. Press Button 5 (SINGLE) to export the selected Slice only. 3. Choose the target Sound or Group as described above. 4.
Sampling and Sample Mapping Mapping Samples to Zones 15.5.1 Opening the Zone Page Mapping is done in the Zone page of the Sample Editor. ► Select a Sound slot, then open the Sample Editor (by clicking the button with the waveform icon on the left of the Pattern Editor), and click the Zone tab to show the Zone page. The Zone page (here for an empty Sound). Opening the ZONE Page on Your Controller ► In Sampling mode, press Button 4 to access the ZONE page.
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller. 15.5.2 Zone Page Overview The Zone page provides following elements: 1 2 3 4 5 6 The Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4).
Sampling and Sample Mapping Mapping Samples to Zones (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑9.2.6, Using the Cue Bus for more information).
Sampling and Sample Mapping Mapping Samples to Zones The Zone List in the Zone page. ► Click the Zone List button next to the Slice tab to show/hide the Zone List. The Zone List allows you to add, remove, replace, select, and reorder Zones in the list. You can adjust the width of the Zone List by dragging its right border.
Sampling and Sample Mapping Mapping Samples to Zones 1. Click the “+” at the end of the Zone List. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → A new Zone is created at the end of the list containing the dragged or selected Sample.
Sampling and Sample Mapping Mapping Samples to Zones 1. Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load Sample… in the menu that opens. A Load Sample dialog opens up. 2. Navigate to the desired audio file on your operating system and press [Enter] to confirm. → The dragged or selected Sample replaced the previous Sample in the target Zone. Selecting a Zone in the List ► Click any Zone entry in the Zone List to put it under focus.
Sampling and Sample Mapping Mapping Samples to Zones ▪ The other selected Zones are highlighted in white. Their settings are not displayed anywhere, however they will be affected by your actions in the Zone List and in the Map view (see section ↑15.5.4, Selecting and Editing Zones in the Map View for more on this). Mouse/Keyboard Action Command Multiple Selection Hold [Ctrl] ([Cmd] on macOS) and click several entries in the list Selects all clicked Zones. Click a selected Zone to deselect it (i.e.
Sampling and Sample Mapping Mapping Samples to Zones 3. In that menu selects Delete to remove the focused Zone only, or Delete Selected to remove all selected Zones. Moving Zones in the List You can move your Zones across the Zone List via drag and drop: 1. Select the Zone(s) you want to move. 2. Click and hold the mouse button, and drag your mouse vertically. As the mouse pointer moves, an insertion line appears at various places between the existing entries. 3.
Sampling and Sample Mapping Mapping Samples to Zones Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone. The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller.
Sampling and Sample Mapping Mapping Samples to Zones 1 4 2 3 The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound. ▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis represents velocities from 0 to 127. ▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle’s width) and a velocity range (the rectangle’s height).
Sampling and Sample Mapping Mapping Samples to Zones You can also add a Sample by dragging it directly onto the Sample Map. See section ↑15.5.7, Adding Samples to the Sample Map for more information. (2) Virtual keyboard Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of the selected Zone is indicated by the colored key. You can drag this key with the mouse to modify the root key.
Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Hold [Ctrl] ([Cmd] on macOS) and click several Zones Selects all clicked Zones. Click a selected Zone to deselect it (i.e. remove it from the selection). Hold [Shift] and click two Zones Selects both Zones and all Zones in-between. Click and drag a selection frame in the Sample Map Selects all Zones within or overlapping the frame. Press [Ctrl]+[A] ([Cmd]+[A] on macOS) Selects/deselects all Zones.
Sampling and Sample Mapping Mapping Samples to Zones For more information on the Edit and Slice pages, please refer to section ↑15.3, Editing a Sample and ↑15.4, Slicing a Sample, respectively. Sample Map Menu The Sample Map menu contains additional editing facilities. ► Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu. The commands in the Sample Map menu will affect all selected Zones.
Sampling and Sample Mapping Mapping Samples to Zones 1 2 5 4 3 The Sample view of the Zone page. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides following tools: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3). ▪ Play range markers (4) and loop markers (5): See below. ▪ Playhead indicator: When the Sample is played back (e.g.
Sampling and Sample Mapping Mapping Samples to Zones Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the focused Zone under another name and/or to another location on your computer. (2) Timeline Shows the time scale in seconds.
Sampling and Sample Mapping Mapping Samples to Zones 15.5.6 Adjusting the Zone Settings At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings in the software. The various sections always display the values for the focused Zone. If the MASCHINE window is not wide enough to display all Zone settings at once, a horizontal bar appears underneath to scroll to the desired section of parameters.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description ACTIVE Enable this to define a loop in the Sample of the focused Zone. When the play position reaches the loop, the playback is looped as long as the note is held. This can be useful to loop either a whole Sample or part of it, e.g., to simulate a longer tone. Note: this technique requires that you set the Sampler’s Type selector to AHD or ADSR on the Pitch / Envelope page (see ↑6.2.2, Page 2: Pitch / Envelope).
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN Sets the panorama position of the focused Zone. ROOT KEY Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. The root key is also indicated by the colored key on the virtual keyboard; to change it, you can drag it to another note on the keyboard.
Sampling and Sample Mapping Mapping Samples to Zones Editing Your Zones on Your Controller At the bottom of the left display, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings on the controller. The various parameters always display the values for the focused Zone. The parameters available in the Zone settings are spread over five pages. ► Use the Page buttons on the left of the displays to select the desired page.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description START (Knob 1) Adjusts the playback’s start point in the Sample of the focused Zone. END (Knob 2) Adjusts the playback’s end point in the Sample of the focused Zone. ► Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. In the waveform on the right display, the regions outside the play range are grayed out.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description END (Knob 3) Adjusts the end point of the loop. XFADE (Knob 4) Allows you to blend a little of the material near the loop start and end points in order to get a smoother, less abrupt loop. This is particularly helpful if the loop is inducing any clicks. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN (Knob 3) Sets the panorama position of the focused Zone. ROOT KEY (Knob 4) Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. Page 4 – ENVELOPE Parameters This amplitude envelope can be used to get rid of clicks after slicing; you can either apply it to the Zone of the whole Sample or to individual Zones for selected Slices.
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller, page 5 of 5: MAP parameters. Parameter Description KEY LO (Lowest Key, Knob 1) Sets the lowest note (key) of the focused Zone. KEY HI (Highest Key, Knob 2) Sets the highest note (key) of the focused Zone. VEL LO (Lowest Velocity, Knob 3) Defines the lowest velocity of the focused Zone. VEL HI (Highest Velocity, Knob 4) Defines the highest velocity of the focused Zone. 15.5.
Sampling and Sample Mapping Mapping Samples to Zones ▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the Sample Map the Zone will cover the root key only; dragging your mouse up in the upper half of the Sample Map will extend the Zone’s key range up to one octave above the root key; with your mouse at the top of the Sample Map, the Zone will cover the entire keyboard. → As you release the mouse button, the Zone is created.
Sampling and Sample Mapping Mapping Samples to Zones 3. In the Browser, select the Sample you want to add to the map of the current Sound (see ↑3.2, Searching and Loading Files from the Library for more information on using the Browser on your controller). 4. Press Button 8 (LOAD) to load the Sample. → A new Zone is created that contains the added Sample. Your controller automatically switches back to Sampling mode and the new Zone is selected and appears on the right display, ready to be tweaked.
Appendix: Tips for Playing Live Preparations 16 Appendix: Tips for Playing Live MASCHINE is a very hands-on tool for producing music as well as for performing live. Here we have specifically gathered some tips to help you when playing live. If you are used to playing live, you may not need them, but maybe you will find some new ideas to integrate into your set. 16.1 Preparations 16.1.
Appendix: Tips for Playing Live Preparations 16.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 16.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an overload of your audio interface, this is a useful safety measure. However, you might experience a somewhat squashed and dull sound if you overuse the Limiter by feeding a lot of loud signals to it. Try it out and see what works best for you! See ↑13.1.
Appendix: Tips for Playing Live Basic Techniques 16.2.2 Use Scene Mode and Tweak the Loop Range Scene mode is useful to trigger different parts of an arrangement by switching Scenes, while changing the Loop Range adds another layer of improvisation. By using a short value for the Perform Grid, you can quickly combine Scenes and create new variations. Please refer to section --- MISSING LINK --- for more information. 16.2.
Appendix: Tips for Playing Live Special Tricks 16.3 Special Tricks 16.3.1 Changing Pattern Length for Variation Try a short Pattern Grid resolution like a quarter or eighth note and change the Pattern Length (see section ↑7.1.6, Adjusting the Arrange Grid and the Pattern Length) to create variations of a Pattern. If you select an even smaller value like 1/64th you can create stuttering breaks and rolls. 16.3.
Troubleshooting Knowledge Base 17 Troubleshooting If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help. Before getting help please make sure you have downloaded the latest MASCHINE software from Native Access. 17.1 Knowledge Base The Online Knowledge Base gathers useful information about your Native Instruments product and can be of great help to solve possible issues you may encounter.
Troubleshooting Registration Support ▪ The brand and specifications of your computer When installing new software or software updates, a Readme file is included that contains late breaking news and new information that was not yet included in the documentation. Please open and read this Readme file before contacting Technical Support. 17.3 Registration Support If problems occur during the product activation procedure, please contact our Registration Support team: www.native-instruments.com/regsuppfrm.
Glossary 18 Glossary In this glossary you will find short definitions for numerous terms used in the MASCHINE context. If you have any doubts about the meaning of a word, this is the place to check! Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. Arranger View The Arranger view allows you to combine Sections (references to Scenes), and arrange them into a song on the Timeline.
Glossary their audio. You then only have to set up the desired Sound(s) and Group(s) of your Project to send some of their audio to this bussing point. This basically is the way to set up send effects in MASCHINE! Channel Properties Channel properties are sets of parameters available at each Project level (i.e. for each Sound, each Group, and for the Master) that are independent of the Plug-ins loaded in that Sound/ Group/Master.
Glossary Event Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor, events are visually represented by rectangles in the Step Grid. Depending on the current view in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the select Sound slots only (Keyboard view). Groove Properties The Groove properties control the rhythmic relationship between events for the selected Group/ Sound or the Master level.
Glossary Header The Header is the topmost row of controls in the MASCHINE software window. It contains global settings, such as the Master Volume slider, the Transport controls, controls for global swing, tempo, time signature, etc. Keyboard View Keyboard view is the view of the Pattern Editor in which only events of the selected Sound are visible and editable. The Keyboard view provides a vertical on-screen keyboard that indicates the pitch of each event (one row per semi-tone).
Glossary Mute and Solo Muting allows you to bypass a Sound or a Group, whereas Soloing is pretty much the opposite: It mutes all other Sounds or Groups so that only the soloed Sound or Group is played. The combination of muting and soloing is a useful means both to play live and to test different sequences together.
Glossary Plug-in A Plug-in is an instrument or effect unit, either Internal or External (by Native Instruments or a third-party manufacturer), that can be loaded into a Plug-in slot to produce or alter sound. When a Plug-in is loaded into a Plug-in slot, the Plug-in appears in the Plug-in List in the left part of the Control area. Prehear The Prehear feature allows you to listen to Samples directly from the Browser without loading them into Sound slots first.
Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Arranger view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Arranger view and are used to arrange the Scenes into a larger musical structure.
Glossary Step Steps are elementary time blocks. They are notably used to apply quantization or to compose Patterns from your controller in Step mode. All steps together make up the Step Grid. In the software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size, e.g., to apply different quantization to different events or to divide the Step Grid into finer blocks to edit your Pattern more precisely.
Index Index Numerics A 16 Velocities Ableton Link in Pad mode [225] connecting to a network [100] joining a Link Session [100] Amplitude Envelope (Sampler) [297] ARRANGE button [324] [763] Arrange Grid [334] Arranger definition [876] switching views [734] Arranger view [761] definition [28] [876] Groups [736] Pattern area [737] Sections [736] Timeline [736] Arranger view button [734] ASIO driver [71] Assigning Macro Controls from parameters [480] MIDI CC Messages [481] Pages Pane [481] using the co
Index Assigning Patterns [745] [778] B Attribute Editor [150] Base key [228] [235] AU plug-ins [307] Beat Delay [695] Audio Bit depth rendering from Patterns [416] exporting audio [217] rendering from Sounds/Groups/Project [211] reducing (effect) [706] Audio driver (selecting) [71] BP2 (Filter mode) [300] Audio input [431] [627] Browser Audio interface [871] + PATTERNS button [142] selecting inputs and outputs [70] definition [28] [876] settings [69] File Type selector [123] AUTO butt
Index C Compressor [646] Channel Control area Groove properties [242] Input properties (Audio page) [431] [627] Macro properties [478] Output properties (Audio page) [436] Output properties (Aux page) [441] Channel properties [429] definition [877] Groove [242] Input [431] [627] definition [877] Control Lane [391] definition [877] Control mode definition [877] Controller selecting Pad mode [224] Controller modes temporary vs.
Index events/notes (controller) [378] E events/notes (software) [376] Edit events/notes (controller) [369] D Delay effects [695] Delete events/notes (controller) [374] events/notes (software) [373] Group [206] Digital distortion [706] Display brightness [91] Distortion [704] avoiding [871] Driver selecting an audio driver [71] Drum program files importing [218] Duplicate Group [202] Pattern (software) [411] Sound [188] Duplicating Making Sections Unique [781] Dynamics effects [646] EDIT page (co
Index Freq Shifter [676] Gate [650] Event definition [878] Grain Delay [698] Event Edit mode (controller) [369] Grain Stretch [700] Event Select mode (controller) [362] Ice [680] Events insert effect [878] cut/copy/paste (controller) [378] Limiter [656] cut/copy/paste (software) [376] loading [613] definition [30] Lofi [706] deleting (controller) [374] manipulating [622] deleting (software) [373] Maximizer [660] editing (controller) [369] Metaverb [682] editing with the mouse [356] mu
Index Events vs.
Index G Output properties (Audio page) [436] Gate [650] Output properties (Aux page) [441] Grain Delay [698] pasting [202] Grain Stretch [700] rendering audio from [211] Groove [242] saving [200] Groove properties [242] saving with Samples [208] set up as send effect [634] definition [878] soloing [237] Group triggering Sounds via MIDI notes [457] applying effects to [613] color [198] Group index [238] copying and pasting [202] Group List [172] creating [195] Group mode (controller) [2
Index I K Ice [680] Key [228] [235] Ideas view KEYBOARD button [226] definition [28] [878] Keyboard mode Groups [735] activating [226] Pattern area [735] Scale [226] Scenes [735] using [226] Import MIDI to Pattern [420] IMPORT button [165] Importing your files into the Library [164] Input properties Keyboard mode (controller) [226] quick erasing events [374] selecting notes [365] Keyboard view definition [879] Audio page [431] [627] Input Quantization [349] Insert effect [878] MASCHINE
Index L Lock view Latency [71] [870] entering [264] LFO [666] [673] [678] recalling snapshot in Lock view [265] Library [104] updating snapshot [264] importing your own files [164] Locking a mode (controller) [36] LIBRARY pane [106] Lofi [706] Limiter [656] LP2 (Filter mode) [300] using [871] Link groups [232] Load Group with Patterns [142] Plug-in [276] Loading files using the controller [102] Lock feature using [263] Lock snapshot basics [263] changing via MIDI [267] creating [263] dele
Index M automation [465] Macro Control connecting external equipment [97] definition [879] Macro Controls [478] controlling parameters via [465] disabling MIDI Lock Change [268] Assigning using the controller [486] disabling MIDI Scene Change [463] Unassigning using the controller [487] enabling MIDI Lock Change [268] Macro Controls (controller) [479] enabling MIDI Scene Change [463] Making Sections Unique [781] exporting from Pattern [417] MASCHINE Library [104] importing to Pattern [420]
Index recording (software) [389] MUTE (controller) [240] recording in Control mode (controller) [390] recording in Step mode (controller) [355] Modulation effects [671] Modulation Envelope (Sampler) [302] Modulation mode of the Smart Strip [270] Morphing between Lock snapshots [265] parameters [266] Move events/notes (software) [367] Group [205] Pattern [414] Plug-in [288] Scene (software) [755] Section (controller) [774] Sections (software) [773] Sound [191] Move events/notes (controller) [353] [371
Index N resizing (controller) [354] [372] Name resizing (software) [367] Group [198] selecting (controller) [362] [365] Pattern [408] selecting (software) [361] Scene [759] transposing (controller) [373] Sound slot [184] transposing (software) [367] Native Instruments Plug-ins [307] NOTES button [271] Native Kontrol Standard [59] Notes mode of the Smart Strip [271] NKS [59] Note Repeat [872] Nudge events/notes (controller) [353] [371] [372] Notes Nudge events/notes (software) [369] cont
Index P adjusting length (software) [335] Pad mode options color [410] 16 Velocities [225] copying and pasting (controller) [413] Fixed Velocity [225] creating (controller) [404] Pad modes definition [880] Pad modes (controller) [224] Pad sensitivity [91] Pads Choke groups [229] Link groups [232] recording [342] Parameter creating snapshots using Lock [263] Scale TYPE [226] Parameter page definition [880] navigating [48] Parameter pages controlling parameters via host automation [465] controll
Index moving events/notes in Step mode (controller) [353] nudging events/notes (controller) [353] [371] [372] nudging events/notes (software) [369] paste content (software) [412] paste events/notes (controller) [378] paste events/notes (software) [376] pasting (controller) [413] quantizing events/notes [379] recording in Control mode (controller) [342] recording in Step mode (controller) [350] removing [745] [778] renaming [408] rendering audio from [416] resizing events/notes (controller) [372] resizing
Index setting Random mode note range [384] definition [30] [881] setting Random mode velocity range [384] loading [276] Pedal [102] moving [288] PERFORM button [270] muting [285] Perform FX saving presets [289] controlling using the Smart Strip [270] Perform Grid [740] Perform mode of the Smart Strip [270] Performing live using the Smart Strip [269] Phaser [678] Pinning a mode (controller) [36] Pitch Bend applying using the Smart Strip [270] Switching instances [63] Plug-in slot bypassing [2
Index Preset External Plug-ins [316] Native Instruments Plug-ins [316] saving Plug-in presets [289] using VST/AU presets [316] Project R Randomizing Pattern Variation [383] Record Count-in [348] Input Quantization [349] definition [29] [881] Overdub mode [343] rendering audio from [211] Record Prepare mode (controller) [345] saving with Samples [209] Replace mode [343] Record page (software) [797] Q Quantization definition [881] quantizing after recording [379] quantizing while recording (contro
Index in LIBRARY pane [108] [132] Retrigger Scenes [740] S Sample Reverb [685] definition [881] Reverberation effects [680] exporting with Group [208] REX files exporting with Project [209] importing to Sounds [218] Root key setting [862] [866] Routing [613] importing into Library [164] missing [166] pre-listening [139] [140] Sample Editor [796] definition [881] Sample rate exporting audio [217] reducing (effect) [706] selecting [71] Sampler Plug-in [293] Amplitude Envelope [297] Sampling e
Index Group [200] selecting (controller) [751] Group with Samples [208] selecting (software) [749] Plug-in preset [289] transitions [740] Project with Samples [209] unique (controller) [757] Sound [186] unique (software) [757] Save button [102] Saving files using the controller [102] Scale in Keyboard mode [226] Scene Scene bank creating (hardware) [753] creating (software) [753] deleting (controller) [753] selecting (controller) [750] selecting (software) [749] appending (controller) [758]
Index duplicating (software) [780] Send MIDI Clock [74] [99] moving (controller) [774] Sequencer removing (controller) [783] definition [882] removing (software) [782] SETTINGS button [347] selecting (controller) [771] [772] Slice [823] selecting (software) [768] Section Arrange mode (controller) [763] Section bank exporting (controller) [842] exporting (software) [839] SLICE page (controller) [824] creating (hardware) [786] Slice page (software) [823] [824] creating (software) [786] Smart
Index definition [29] [882] number [238] duplicating [188] resetting [193] Groove properties [242] Soundcard [871] Input properties (Audio page) [431] [627] input and output routing [70] Input properties (MIDI page) [457] settings [69] introduction [172] Stand-alone application [61] Macro properties [478] Step moving [191] definition [883] muting and soloing [237] STEP button [350] naming [184] Step Grid [338] Output properties (Audio page) [436] Output properties (Aux page) [441] Outpu
Index T Tube saturation [710] Tag Filter TYPES Filter [108] using [125] Tags assigning Types and Sub-Types [154] creating [155] Take Undo/Redo [38] [39] U Undo [37] [39] V Variation TAP (Metro) button [347] accessing mode [383] TAP button [248] adding to Pattern [383] Tape saturation [709] applying settings to selected Sound [383] Template Project Humanize mode parameters [383] Random mode parameters [384] plug-in [77] stand-alone [77] Tempo Velocity scaling [91] View switching [31] Tap
