MASCHINE MIKRO 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 2.8 .....................................
Table of Contents 3 2.3.4 Control Area ............................................................................................................... 59 2.3.5 Pattern Editor ............................................................................................................ 60 Basic Concepts ......................................................................................................... 62 3.1 Important Names and Concepts .............................................................
Table of Contents 3.7 3.8 4 3.6.4 Preferences – Default Page ....................................................................................... 97 3.6.5 Preferences – Library Page ........................................................................................ 101 3.6.6 Preferences – Plug-ins Page ..................................................................................... 109 3.6.7 Preferences – Hardware Page .................................................................
Table of Contents 4.3 Performing a Text Search ........................................................................................... 142 4.2.8 Loading a File from the Result List ............................................................................ 143 Additional Browsing Tools .......................................................................................................... 148 4.3.1 Loading the Selected Files Automatically ........................................................
Table of Contents 5.2 5.3 5.4 5.5 5.1.1 The Sound, Group, and Master Channels ................................................................... 176 5.1.2 Similarities and Differences in Handling Sounds and Groups ................................... 177 5.1.3 Selecting Multiple Sounds or Groups ......................................................................... 178 Managing Sounds ..............................................................................................................
Table of Contents 6 5.5.1 Loading REX Files into Sound Slots ........................................................................... 218 5.5.2 Importing MPC Programs to Groups ........................................................................... 219 Playing on the Controller ........................................................................................... 223 6.1 Adjusting the Pads ....................................................................................................
Table of Contents 7.2 7.3 8 7.1.3 Loading, Removing, and Replacing a Plug-in ............................................................ 264 7.1.4 Adjusting the Plug-in Parameters ............................................................................. 270 7.1.5 Bypassing Plug-in Slots ............................................................................................ 270 7.1.6 Using Side-Chain ........................................................................................
Table of Contents 9 8.3 Using Loop Mode ........................................................................................................................ 308 8.4 Using Gate Mode ........................................................................................................................ 310 Using the Drumsynths ................................................................................................ 312 9.1 9.2 9.3 Drumsynths – General Handling .............................
Table of Contents 9.4 9.5 9.6 9.7 9.3.7 Snare – Chrome ......................................................................................................... 349 9.3.8 Snare – Iron ............................................................................................................... 351 9.3.9 Snare – Clap ............................................................................................................. 353 9.3.10 Snare – Breaker ............................................
Table of Contents 11 Working with Patterns ............................................................................................... 401 11.1 11.2 11.3 11.4 Pattern Basics ............................................................................................................................ 401 11.1.1 Pattern Editor Overview ............................................................................................. 402 11.1.2 Navigating the Event Area ...................................
Table of Contents 11.4.10 11.5 Adding Variation to Patterns ..................................................................................... 442 Recording and Editing Modulation ............................................................................................. 443 11.5.1 Which Parameters Are Modulatable? ......................................................................... 444 11.5.2 Recording Modulation ..............................................................................
Table of Contents 12.1.5 Mono Audio Inputs ..................................................................................................... 502 12.1.5.1 Configuring External Inputs for Sounds in Mix View ..................................503 12.2 12.3 Using MIDI Control and Host Automation .................................................................................... 506 12.2.1 Triggering Sounds via MIDI Notes ..............................................................................
Table of Contents 13.4.3 Panel for the Sampler ................................................................................................ 557 13.4.4 Custom Panels for Native Instruments Plug-ins ........................................................ 560 13.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) ............ 564 14 Using Effects ............................................................................................................. 567 14.1 14.
Table of Contents 15.3 15.4 15.2.2 Filter .......................................................................................................................... 605 15.2.3 Cabinet ...................................................................................................................... 609 Modulation Effects ..................................................................................................................... 611 15.3.1 Chorus ..........................................
Table of Contents 15.7 Perform FX .................................................................................................................................. 645 15.7.1 Filter .......................................................................................................................... 646 15.7.2 Flanger ...................................................................................................................... 648 15.7.3 Burst Echo .......................................
Table of Contents 16.3 16.2.12 Naming Scenes .......................................................................................................... 689 16.2.13 Changing the Color of a Scene .................................................................................. 690 Using Song View ......................................................................................................................... 692 16.3.1 Section Management Overview ...............................................
Table of Contents 16.3.14 Enabling Auto Length ................................................................................................ 713 16.3.15 Looping ...................................................................................................................... 714 16.3.15.1 Setting the Loop Range in the Software .....................................................714 16.3.15.2 Activating or Deactivating a Loop Using the Controller .............................715 16.
Table of Contents 17.5.1 Opening the Zone Page .............................................................................................. 754 17.5.2 Zone Page Overview ................................................................................................... 755 17.5.3 Selecting and Managing Zones in the Zone List ........................................................ 756 17.5.4 Selecting and Editing Zones in the Map View ............................................................
Table of Contents 19 Troubleshooting ........................................................................................................ 776 19.1 Knowledge Base ......................................................................................................................... 776 19.2 Technical Support ....................................................................................................................... 776 19.3 Registration Support .........................................
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 MIKRO Quick Start Guide: This animated online guide provides a practical approach to help you learn the basic of MASCHINE MIKRO. The guide is available from the Native Instruments website: https://www.native-instruments.com/maschine-mikro-quickstart/ 2.
Welcome to MASCHINE Document Conventions 1.2 Document Conventions This section introduces you to the signage and text highlighting used in this manual. This manual uses particular formatting to point out special facts and to warn you of potential issues. The icons introducing these notes let you see what kind of information is to be expected: This document uses particular formatting to point out special facts and to warn you of potential issues.
Welcome to MASCHINE New Features in MASCHINE 2.8 ▪ References to keys on your computer’s keyboard you’ll find put in square brackets (e.g., “Press [Shift] + [Enter]”). ► Single instructions are introduced by this play button type arrow. → Results of actions are introduced by this smaller arrow. Naming Convention Throughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.
Welcome to MASCHINE New Features in MASCHINE 2.8 Improvements to the Browser ▪ Samples are now cataloged in separate Loops and One-shots tabs in the Browser. ▪ Previews of loops selected in the Browser will be played in sync with the current project. When a loop is selected with Prehear turned on, it will begin playing immediately in-sync with the project if transport is running.
Welcome to MASCHINE New Features in MASCHINE 2.7.10 ▪ Adjust Pattern Length with A-Series keyboards. Push the 4D Encoder on a Pattern in IDEAS. Twist for 1 bar increments, or hold SHIFT and twist for finer increments. Press again to set. ▪ Clear patterns from A-Series keyboards by holding SHIFT and pressing STOP. 1.4 New Features in MASCHINE 2.7.10 The following new features have been added to MASCHINE: New Hardware Support ▪ Support for KOMPLETE KONTROL A-Series keyboards.
Welcome to MASCHINE New Features in MASCHINE 2.7.8 1.5 New Features in MASCHINE 2.7.8 The following new features have been added to MASCHINE: New Hardware Support ▪ Support for KOMPLETE KONTROL S88 MK2 ▪ Support for MASCHINE MIKRO MK3 hardware 1.6 New Features in MASCHINE 2.7.7 The following new features have been added to MASCHINE: Audio plug-in Improvements ▪ Added a Formant mode to the Audio plug-in which preserves formants when pitching an audio loop up or down.
Welcome to MASCHINE New Features in MASCHINE 2.7.7 ▪ MASCHINE now writes both the Tempo and Loop tags to recordings made with Loop mode. Tempo is attached to recordings made in Sync mode. These recordings will therefore always be in sync with the project when loading them into an Audio plug-in. Pattern Editor ▪ The number of tools available in the software for editing the Patterns has been reduced due to redundant functionality.
Welcome to MASCHINE New Features in MASCHINE 2.7.4 newest plug-in version installed, regardless of whether the preference is enabled or not, to ensure you can load the older project rather than getting the annoying "Could not load 1 or more plug-ins" error. For more information, see ↑3.6.6, Preferences – Plug-ins Page. 1.7 New Features in MASCHINE 2.7.
Welcome to MASCHINE New Features in MASCHINE 2.7.4 tings. Pressing the footswitch again before recording has actually started will cancel the recording. If recording is in progress, pressing the footswitch once will stop the recording, double-pressing will abort the recording (any recorded audio to that point will be discarded). If the recording is complete, holding the footswitch down for a few moments will trigger Undo so you can try another take.
Welcome to MASCHINE New Features in MASCHINE 2.7.3 ▪ Removed the function where a right click will remove Events in the Pattern Editor. Instead, the context menu is opened. Events can still be deleted using double-click as well as using the "Paint" and "Erase" tools. For more information refer to ↑11.4.5, Deleting Events/Notes. ▪ Changed the behavior of right-click in the Arranger. This no longer removes Patterns from Scenes. It now opens a context menu with many useful options for arranging.
Welcome to MASCHINE New Features in MASCHINE 2.7.3 ◦ Access Logic Mixer via MASCHINE MK3 hardware (Volume, Pan, Mute / Solo states are visible on screens). ◦ Access Essential Controls: Play / Stop / Record / Quantize, Undo / Redo, Automation Toggle, Tap Tempo, and Loop Toggle. General Improvements ▪ Added additional Scales from KOMPLETE KONTROL into MASCHINE. For more details see ↑6.4.2, Selecting a Scale and Creating Chords. ▪ Added loading of Perform FX at the end of a Group plug-in chain.
Quick Reference MASCHINE Project Overview 2 Quick Reference This chapter introduces you to the main areas and concepts of MASCHINE. In the following sections, you will find: ▪ Information that will help you in your every-day work with your controller (Using Your Controller). ▪ An overview of a MASCHINE Project and a description of both its structure and content (↑2.1, MASCHINE Project Overview).
Quick Reference MASCHINE Project Overview 1 3 2 The sound content aspect of a MASCHINE Project with Ideas view selected. ▪ Groups (1) are available in Banks. Each Bank contains eight Groups (A-H) and each Group contains sixteen Sound slots (1–16) (2). Each Sound slot can be filled with samples or plug-ins. ▪ You can influence the sound on these three channels: the Project (or Master) channel, the Group channel, and the Sound channel.
Quick Reference MASCHINE Project Overview ◦ The controls in the MASTER section affect the sound at the main outputs of MASCHINE, i.e. the sound of all Groups and all Sounds. 2.1.2 Arrangement The MASCHINE Project is about building patterns, and putting those patterns into a loop or a song structure. In MASCHINE, the process of creating ideas is separated from the process of arrangement to provide a more flexible and creative approach.
Quick Reference MASCHINE Project Overview 1 2 3 4 5 7 6 The Ideas view of a MASCHINE Project optimized for creating Patterns and building Scenes. The workflow of creating ideas in MASCHINE is as follows: ▪ You load samples or plug-ins into the Sound slots (7) of the selected Group (2). ▪ You record instances of your Sounds by playing the pads (1-16). A recorded instance of a Sound is called an event (6). ▪ Together, the events add up to a Pattern (1) for the selected Group.
Quick Reference MASCHINE Project Overview ▪ In the upper half of the software, the Ideas view (4) allows you to combine your Patterns from each Group. ▪ Here you combine your Patterns (1) into Scenes (3). Song view In the Song view Scenes are assigned to Sections and placed on the Timeline of the Arranger, where you can move them around to develop an arrangement. 1 2 The Song view of a MASCHINE Project.
Quick Reference MASCHINE Hardware Overview ▪ Change the position of a Section by dragging the Sections slot. 2.2 MASCHINE Hardware Overview 2.2.1 MASCHINE MIKRO Hardware Overview This section quickly describes the areas and control elements on your hardware controller. The top panel of your controller includes the following sections: 1 2 3 5 4 Overview of the MASCHINE controller’s top panel and its main sections.
Quick Reference MASCHINE Hardware Overview (2) Edit section: This section holds the Encoder, a multifunctional element used in various contexts with the Arrow buttons. The three Quick Edit buttons nearby allow you to adjust the volume, tempo, and swing of your Sounds, Groups, and Project. In Step mode, they let you quickly change the velocity, position, and tune of the selected events. For more information on this section, see ↑2.2.1.2, Edit Section.
Quick Reference MASCHINE Hardware Overview (1) Project button: View Projects that have been recently opened. Turn the Encoder to scroll the list, and press the Encoder to load the selected Project. Press SHIFT + Project button to access MIDI mode. For more information on MIDI Mode refer to ↑3.7.4, Using MIDI Mode. (2) Favorites button: View Favorites directly using the controller. Turn the Encoder to scroll the list, press the Encoder to load the selected item.
Quick Reference MASCHINE Hardware Overview (3) Quick Edit buttons: Enable either VOLUME (Velocity), SWING (Position), or TEMPO (Tune) to quickly adjust the volume, swing, or tempo of your Project via the Encoder (1). In Step mode the Quick Edit buttons allow you to adjust the velocity, the position, and the pitch (key) of the selected events. See, ↑3.3.1, Adjusting Volume, Swing, and Tempo for a practical example of how to use these features.
Quick Reference MASCHINE Hardware Overview (1) Strip Mode buttons: The PITCH, MOD, PERFORM, and NOTES buttons let you select the function of the Smart Strip (2). Press the Strip Mode buttons to enable or disable the corresponding function: ▪ Enable PITCH or MOD to send MIDI Pitchbend or Modulation data to the selected Sound using the Smart Strip. While doing this, press REC in the Transport section to record your actions as MIDI automation into your Pattern.
Quick Reference MASCHINE Hardware Overview If the VOLUME, SWING, or TEMPO button is active in the Edit section above (see ↑2.2.1.2, Edit Section), hold a Group button and turn the Encoder to change the volume, tune or swing for that individual Group. For more details on this, see ↑3.3.1, Adjusting Volume, Swing, and Tempo. (4) AUTO button: In MASCHINE, modulation of almost any parameter on the Sound and Group level is achieved with one-touch simplicity.
Quick Reference MASCHINE Hardware Overview (2) REC button: During playback, press REC to begin recording. Or when playback is off, press SHIFT + REC to begin recording with the Count-in. Press REC a second time to stop recording. Hold the REC button to access Pattern Preset mode, this allows you to select the desired Pattern Length before recording new Patterns. (3) STOP button: Press STOP to stop playback.
Quick Reference MASCHINE Hardware Overview Additionally, when you hold SHIFT, the pads provide you with useful shortcuts and commands for your everyday work with MASCHINE. 14 10 11 12 13 8 7 6 5 9 4 3 2 1 The Pad section on your controller: the Mode buttons (1) to (8), the pads (9), and the Pad Input Mode buttons (10) to (14). Mode Buttons The Mode buttons (1) to (8) are located in the column left of the pads.
Quick Reference MASCHINE Hardware Overview (3) SELECT button: Enters Select mode. This mode allows you to select a Sound without triggering it, or select specific events of a particular Sound, which is useful for limiting quantization, nudging notes and other operations specific to the selected events. Press ERASE + SELECT + pad to quickly erase all events triggered by that pad in your Pattern or notes at that pitch when in Keyboard mode. (4) DUPLICATE button: Enters Duplicate mode.
Quick Reference MASCHINE Hardware Overview ▪ Use Section mode to create, select, and manage Sections in order to create an arrangement. Here you can create Sections, assign a Scene to Section, position a Section on the Timeline, and set the length of a Section. Press SHIFT + SCENE to quickly toggle between Ideas view and Song view. Pads and Pad Input Mode Buttons The Pad Input Mode buttons (10) to (14) allow you to choose from various behaviors for the pads (9) when it comes to trigger your Sounds.
Quick Reference MASCHINE Hardware Overview (14) FIXED VEL button: Press FIXED VEL to enable/disable the Fixed Velocity option. By default, the pads are sensitive to velocity: The harder you hit them, the louder the sound will be. With Fixed Velocity enabled, your pads play at the same volume no matter how hard you hit them. For example, this can be very handy when you are triggering slices of a loop from your pads and want to have all slices at the same volume.
Quick Reference MASCHINE Software Overview 2.3 MASCHINE Software Overview 1 3 4 2 5 The MASCHINE software. (1) Header: The Header contains the main controls for the MASCHINE software including the Display area, the Transport controls, and the Master Volume slider. You can also use this area to toggle the Browser, toggle the Mixer view, connect to your hardware controller and monitor the CPU usage of your computer.
Quick Reference MASCHINE Software Overview (4) Control area: The Control area allows you to control parameters and settings for each of the Plug-in slots at each Project level (Sound, Group and Master). This area can hold settings for Groups, Sounds, Plug-ins (internal or VST/AU plug-ins), MIDI, routing. (5) Pattern Editor: The Pattern Editor features both step programming and real-time recording and is the basis for each Pattern.
Quick Reference MASCHINE Software Overview (5) Display area: The Display area provides control regarding Ableton Link, time signature, tempo, global swing, Follow and Performance Grid (Including Retrigger) (6) Controller icon: This area displays an icon each MASCHINE controllers connected to your computer. (7) Master Volume slider: Shows and adjusts the level of the MASCHINE audio output.
Quick Reference MASCHINE Software Overview 2.3.2 Browser 2 1 3 4 5 6 7 8 9 10 11 12 The Browser. (1) Library tab: Use the Library tab to access your computer's hard drives via MASCHINE's selectors and filters. (2) Files tab: Use the Files tab to access your computer’s hard drives.
Quick Reference MASCHINE Software Overview (3) File Type selector: This contains seven icons representing the different file types of MASCHINE. From left to right the file types are: Projects, Groups, Sounds, Instruments, Effects, Loops and One-shots. Clicking one of them causes only the files of the selected type to be displayed. (4) Content selector: Use the Content selector to switch between Factory Content (button off) and User Content (button on).
Quick Reference MASCHINE Software Overview Use the +PATTERNS button to load a Group with its saved Pattern. When +PATTERNS is selected the Sounds and Patterns of the selected Group are loaded. When +PATTERNS is deselected, only the Sounds of the selected Group are loaded so you can try them with your existing pattern. (11) Information: Click the Information icon to view details of the selected file. (12) Tag Editor: Use the Tag Editor to edit Tags applied to files and to add Tags to new files.
Quick Reference MASCHINE Software Overview The Ideas View 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your project. After creating a Scene by clicking the + symbol, you can build the Scene by selecting a Pattern from each Group. By clicking each Scene name (Scene slot) you can switch between Scenes to see how your musical ideas work together.
Quick Reference MASCHINE Software Overview The Song view 1 2 3 4 The Song view for organizing your musical ideas into a song on the Timeline. (1) Groups: The Group slots can hold one Group each. Select the desired slot to load a Group into it and display the Group’s content (Sounds, Patterns…) in the Pattern Editor (see ↑2.3.5, Pattern Editor) and the Group’s Channel properties and Plug-in parameters in the Control area (see ↑2.3.4, Control Area).
Quick Reference MASCHINE Software Overview 2.3.4 Control Area 2 3 4 5 6 7 1 8 The Control area. (1) Plug-in icon: Click the Plug-in icon to access Plug-ins and their parameters. (2) Channel icon: Click the Channel icon to access Channel properties where you can display and adjust various properties for the selected Sound/Group or Master channel in the Parameter area. (3) MASTER tab: Click the MASTER tab to control sound at the main outputs of MASCHINE (including all Groups and Sounds).
Quick Reference MASCHINE Software Overview 2.3.5 3 Pattern Editor 4 5 6 7 8 9 10 2 1 11 12 14 13 The Pattern Editor. (1) Sample Editor button: Click this button to open/close the Sample Editor. (2) Keyboard view button: Click this button to display the Keyboard view. (3) Group view button: Click this button to display the Group view. (4) Audition button: Click this button to audition a Sound when it is selected from the Sound slots (6).
Quick Reference MASCHINE Software Overview (6) Sound slots: Sounds slots 1–16 of the selected Group are listed here. Click a Sound slot to bring it into focus and display its Plug-ins and Channel properties in the Control area (see ↑2.3.4, Control Area). In Keyboard view (2), click a Sound slot to display its events in the Step Grid (11). (7) Pattern slots: Each Group has an unlimited number of Patterns available. Each Pattern slot can hold one Pattern.
Basic Concepts Important Names and Concepts 3 Basic Concepts This chapter will reintroduce you to MASCHINE’s main elements and terminology and explain how they relate to one another. You will also learn how to set up your audio interface and how to connect MIDI devices. Before reading this chapter it is strongly recommended that you read the MASCHINE Getting Started first. 3.1 Important Names and Concepts We will start with a list (in alphabetical order) of the most important concepts and names.
Basic Concepts Important Names and Concepts routing system also allows you to create send effects, multi-effects, and side-chains. For more details on using effects in MASCHINE, refer to chapter ↑14, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑15, Effect Reference. Event Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor, events are visually represented by rectangles in the Event area.
Basic Concepts Important Names and Concepts Plug-in Each Sound, each Group, and the Master can hold any number of Plug-ins. Plug-ins can be instruments or effects, and they can be internal (included with MASCHINE), from other Native Instruments products (instruments or effects), or external (third-party VST/AU plug-ins). Instrument and Effect Plug-ins can be loaded in the first Plug-in slot of Sounds.
Basic Concepts Adjusting the MASCHINE User Interface Sound Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any number of Plug-ins. Each Sound of the selected Group is mapped to one of the 16 pads on the hardware controller, so you can play the Sounds by pressing the pads. Refer to chapter ↑5, Managing Sounds, Groups, and Your Project for more information on Sounds. Please refer to chapter ↑20, Glossary at the end of this Manual for more definitions. 3.
Basic Concepts Adjusting the MASCHINE User Interface The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]). 3.2.2 Switching between Ideas View and Song View At any time you can quickly switch between the Ideas view and the Song view, using the Arranger View button. The Arranger View button in the top left corner. ► Press the Arranger view button to toggle between Song view and Ideas view.
Basic Concepts Adjusting the MASCHINE User Interface 3.2.3 ► Showing/Hiding the Browser Click the Browser button (with the magnifier symbol) in the Header to show and hide the Browser. You can also select Browser from the View menu in the Application Menu Bar or from the View submenu in the MASCHINE menu. The Browser button in the Header. You can also show/hide the Browser from your computer keyboard via the [F4] function key.
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. 3.3 Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations. 3.3.1 Adjusting Volume, Swing, and Tempo At any time you can quickly adjust volume levels, swing, and the overall tempo of your Project using the Quick Edit buttons. 3.3.1.
Basic Concepts Common Operations Use the Master Volume slider in the Header to adjust the overall volume of MASCHINE. You can also use Mix view to adjust your Sound and Group levels. Mix view gives you quick access to the level and routing settings of all your Sounds, Groups, and the Master. In addition, it provides you with an intuitive interface for adjusting the parameters of all your Plug-ins. More on this in section The Mix View.
Basic Concepts Common Operations → The VOLUME button lights up. You can now adjust the volume for your overall Project, for each Group, and for each Sound individually using the Encoder: ▪ To adjust the overall volume, turn the Encoder. Hold SHIFT to adjust the value in finer increments. ▪ To adjust the volume of a particular Group, hold its Group button (A–H) and turn the Encoder. Hold SHIFT to adjust the value in finer increments.
Basic Concepts Common Operations → The TEMPO button lights up. You can now adjust the tempo for your overall Project, for each Group, and for each Sound individually using the Encoder: ▪ To adjust the overall tempo, turn the Encoder. Hold SHIFT to adjust the value in finer increments. As you adjust the tempo, the display indicates the current value. It is recommended you try this while your Pattern is playing, you will immediately hear the effect of your changes.
Basic Concepts Common Operations ► To cancel your last action (Step Undo), press [Ctrl]+[Shift]+[Z] ([Cmd]+ [Shift]+ [Z] on macOS). To re-execute your last action (Step Redo), press [Ctrl]+ [Shift]+ [Y] ([Cmd]+ [Shift]+ [Y] on macOS). You can also select Undo Step and Redo Step from the Edit menu in the Application Menu Bar or from the Edit submenu in the MASCHINE menu.
Basic Concepts Common Operations ▪ Recording in Control mode ▪ Recording in Step mode ▪ Recording modulation Outside of these three situations, Take Undo has the same effect as Step Undo (see above). 3.3.3 Focusing on a Group or a Sound To display the content and parameters of a particular Sound or Group, you first need to put it in focus.
Basic Concepts Common Operations → The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group. 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.
Basic Concepts Common Operations Setting the Focus on a Sound To put a Sound in focus: 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.
Basic Concepts Common Operations The focused Sound slot is highlighted. If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden Sounds. You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3, Selecting Multiple Sounds or Groups for more information. Focusing on a Group using the Hardware 1.
Basic Concepts Common Operations You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3, Selecting Multiple Sounds or Groups for more information. 3.3.4 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.
Basic Concepts Common Operations → The Control area now displays the Plug-in parameters and Channel properties of the desired Sound, desired Group or the Master. Selecting Channel Properties 1. At the far left of the Control area, click the Channel icon (showing a little knob) to display the Channel properties: The button lights up.
Basic Concepts Common Operations 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. The Plug-in List appears in the left part of the Control area, showing a stack of all Plug-ins loaded in the selected Sound, Group or the Master: 2. Click the desired Plug-in slot in the Plug-in List to select that Plug-in.
Basic Concepts Common Operations The Parameter pages of the Sound’s Output properties: Audio (currently displayed), Aux, and MIDI. If all page names cannot be displayed at once at the top of the Parameter area, two small arrows are displayed on the left to click through the pages: ► Click the left or right arrow to access additional pages. Adjusting the Parameters In the Parameter area, each parameter includes a control element and a label.
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 3.3.6 Navigating the Software Using the Controller You can use the controller to adjust the position and zoom factor in the software. To access the Navigation mode: ► Press SHIFT + VARIATION (Navigate).
Basic Concepts Common Operations 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 Controlling Various Instances with Different Controllers for more information. A controller not connected to any MASCHINE software instance can be used in MIDI mode (i.e. as a MIDI controller) at the same time as the other controller(s). See the Controller Editor Manual for more information on MIDI mode.
Basic Concepts Common Operations 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 Native Kontrol Standard 3.4 Native Kontrol Standard Native Kontrol Standard (NKS) is a software instrument format that allows third-party developers to integrate with MASCHINE and KOMPLETE KONTROL hardware and software at the same deep level as KOMPLETE Instruments. The Native Kontrol Standard includes: ▪ Seamless integration into the MASCHINE and KOMPLETE KONTROL Browser for a unified browsing experience. ▪ Full parameter mapping for instant hands-on control.
Basic Concepts Stand-Alone and Plug-in Mode 1. Start the stand-alone version of the MASCHINE software. 2. In the File menu click on Manage Products…. 3. Click on Add a serial in the top-left corner of Native Access. 4. Enter the serial number of the instrument and click ADD SERIAL. 5. Click BROWSE and open the folder containing the instrument files in the file dialog. 6. Click on INSTALL to add the instrument to your MASCHINE Library. → The instrument is installed.
Basic Concepts Stand-Alone and Plug-in Mode start the playback in MASCHINE, nor modify the tempo or the time signature of your Project within the MASCHINE plug-in itself — these are synchonized to your host’s own transport functions and tempo settings. As a direct consequence, when MASCHINE is used as a plug-in the Restart and Play buttons as well as the Tempo and Time Signature fields are grayed out and inactive in the MASCHINE Header.
Basic Concepts Stand-Alone and Plug-in Mode Multiple Plug-in Instances When you are using MASCHINE as a plug-in within a host application, you can open multiple MASCHINE instances. Actually, you can load as many instances of MASCHINE as your computer and your host application can handle CPU-wise. In contrast to the stand-alone application, they are always synced to the host.
Basic Concepts Preferences Preferences… in the File menu of the Application Menu Bar (Windows depicted), and in the File submenu of the MASCHINE menu. The following pages are available in the Preferences panel: ▪ General: see ↑3.6.1, Preferences – General Page. ▪ Audio: see ↑3.6.2, Preferences – Audio Page. ▪ MIDI: see ↑3.6.3, Preferences – MIDI Page. ▪ Default: see ↑3.6.4, Preferences – Default Page. ▪ Library: see ↑3.6.5, Preferences – Library Page. ▪ Plug-ins: see ↑3.6.6, Preferences – Plug-ins Page.
Basic Concepts Preferences The Preferences – General page. Setting Description Startup Reload Last Project Click this checkbox to automatically reload the last Project on startup.
Basic Concepts Preferences Setting Description Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved. If not, your recordings will be saved in the generic Recordings folder in your standard user directory (see section ↑3.6.4, Preferences – Default Page). Metronome Enabled Check this box to activate the metronome.
Basic Concepts Preferences Setting Description Count-in Length Select the duration of the Count-in, i.e. how long the metronome will sound before the recording actually starts. Link Enabled Click the checkbox to enable the Link protocol by default. Applications that support Ableton Link can join a Link session when connected to the same network. For more information on Link please refer to section: ↑3.8, Syncing MASCHINE using Ableton Link.
Basic Concepts Preferences Setting Description Usage Data Tracking Allow usage data tracking Here you can select to enable or disable Usage Data Tracking. Usage Data Tracking technology enables MASCHINE to automatically track anonymous usage data that you can choose to share with us. All users should keep Data Tracking enabled as it provides a valuable tool for understanding the performance of Native Instruments applications when they are used in real life situations.
Basic Concepts Preferences Setting Description Sample Rate This displays the selected sample rate of your audio interface. Restart MASCHINE after changing the sample rate. ASIO Config (Windows only) Click Open Panel to access specific controls related to your audio interface. Please consult the documentation that came with your audio interface for more information. Latency macOS: This slider allows you to adjust the latency of your audio interface in samples.
Basic Concepts Preferences 3.6.3 Preferences – MIDI Page The MIDI page allows you to set up the MIDI input and output ports that you want to use with MASCHINE. ► To display the MIDI page, click the MIDI tab on the left of the Preferences panel.
Basic Concepts Preferences Setting Description Sync Mode Click the drop-down menu to set the MIDI Sync mode preference for MASCHINE: Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groove box, or even another software sequencer.
Basic Concepts Preferences Setting Description Outputs Click Output to display a list of all the available MIDI outputs of your system. You can activate/deactivate each output by clicking the fields in the Status column, which displays the current status of the corresponding port. 3.6.4 Preferences – Default Page The Default page allows you to define the default settings that will be used for each new Project. ► To display the Default page, click the Default tab on the left of the Preferences panel.
Basic Concepts Preferences The Preferences – Default page.
Basic Concepts Preferences Setting Description Project Standalone Here you can select a Project to load automatically when you start a new Project in MASCHINE used as a stand-alone application. The field displays the location of the Template Project selected for use. Click the folder icon to select another Template Project.
Basic Concepts Preferences Setting Description Duplicate Select from the drop-down menu how the Duplicate function in MASCHINE will operate when duplicating Scenes. Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated. The new Scene and Patterns are now completely independent from the originals.
Basic Concepts Preferences Setting Description Sound Default MIDI Input Mode MASCHINE allows you to play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound. In addition, you can select that a Sound receives no MIDI input, and also define the default setting for MIDI input by selecting the Default MIDI Input Mode preference.
Basic Concepts Preferences The Preferences panel – the Library page’s Factory pane. The Factory pane displays all factory libraries available. These includes the MASCHINE Factory Library, libraries imported from other NI products, as well as installed MASCHINE EXPANSIONS. These libraries will appear in the Factory view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Product column Displays the name of each product. These names cannot be edited. Rescan button If you have made any change to a library (e.g., changed its location), select it in the list and click the Rescan button to rescan that library.
Basic Concepts Preferences The Preferences panel – the Library page’s User pane. The User pane displays all user libraries currently in use. This includes the standard MASCHINE user directory as well as any other user directory you might have defined. These libraries will appear in the User view of the Browser’s Library pane.
Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Alias column Displays the alias stored for each library. Click an alias to edit it. Defining aliases for your user folders is not mandatory, but it can be of great help when working on different computers (see description below).
Basic Concepts Preferences The User Content folder can neither be renamed nor removed from the list. You can modify its path in the Location column. Standard User Directory Cannot Be Removed The Standard User Directory can neither be renamed nor removed from the list in the User pane of the Library page in the Preferences panel. You can modify its path in the Location column.
Basic Concepts Preferences ► Click CANCEL in the Updating Database dialog to interrupt the scan. A Cancel Rescan dialog opens up asking you to confirm that you want to cancel the scan: The dialog warns you that cancelling the scan may lead to inconsistencies or missing items in your MASCHINE Library. ▪ If you still want to cancel the scan, click CANCEL RESCAN at the bottom right, and the scan will be cancelled.
Basic Concepts Preferences Adding Folders to the User Library In the User pane of the Library page, you can add other folders to the user content of your MASCHINE Library. To do this: 1. Click Add at the bottom of the pane. A folder selection dialog opens up. 2. In the dialog, navigate to the desired folder on your computer and click OK (Choose on macOS). → All MASCHINE-compatible files found in the selected folder are added to your user content in MASCHINE.
Basic Concepts Preferences Please note that the selected folder cannot contain, or be contained within, a folder already listed in the User or Factory pane. If MASCHINE detects such a folder as you press OK (Choose on macOS) in the folder selection dialog, a Duplicate Location message appears: Click OK to return to the folder selection dialog and select another folder on your computer. Removing Folders from the User Library You can also remove any user folder from your Library — except the default user.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane.
Basic Concepts Preferences Element Description Plug-in column Lists all available VST/AU plug-ins from the directories specified in the Locations pane (see below). This includes all enabled or disabled 32-bit VST/AU plug-ins, when MASCHINE is running in 32-bit mode or otherwise all enabled or disabled VST/AU 64-bit plug-ins, when MASCHINE is running in 64-bit mode. On the left of each plug-in in the list, a checkbox allows you to enable/disable this plug-in in MASCHINE.
Basic Concepts Preferences Manager Pane: Use NI Audio Units Checkbox (macOS Only) On macOS, the Manager pane contains an additional Use NI Audio Units checkbox.
Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. The Locations pane also contains the following controls: Element Description Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon on the left of an entry to change the path of that plug-in directory. Add button Click Add to add plug-in directories.
Basic Concepts Preferences Element Description Remove button Click Remove to remove the selected directory. Rescan button If you have changed the content of a directory (such as installed or removed plug-ins), you should rescan your plug-in directories in order to keep the list of available plug-ins up to date.
Basic Concepts Preferences The Preferences panel – Colors page.
Basic Concepts Preferences Setting Description Scene Default Select the default color for your Scenes. In the menu, you can select the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color. Group Default Select the default color for your Groups. In the menu, you can choose the desired color from the 16-color palette.
Basic Concepts Integrating MASCHINE into a MIDI Setup 3.7 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: ↑3.7.2, Sync to External MIDI Clock and ↑3.7.3, 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 1. Select Preferences entry from the File menu. 2. Select the MIDI page. 3. In the Sync section select Slave (Receive Clock) from the menu. 4. Select the Input button to see a list of connected devices. 5. Check the name of the device sending MIDI clock (the device you want MASCHINE to sync with).
Basic Concepts Integrating MASCHINE into a MIDI Setup → MASCHINE will send a MIDI Clock signal to any connected device that is capable of receiving MIDI Clock. You can adjust the MIDI Clock offset in the MIDI page of the Preferences panel. See ↑3.6.3, Preferences – MIDI Page for more information. If you want MASCHINE to send other MIDI messages than MIDI Clock, in particular if you want to control other MIDI-capable devices via the notes played in MASCHINE, please refer to section ↑12.2.
Basic Concepts Syncing MASCHINE using Ableton Link MIKRO MIDI Mode Mapping 3.8 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 3.8.1 Connecting to a Network Applications that support Ableton Link can join a Link session when connected to the same network. To enable Link within MASCHINE, simply make sure the computer running MASCHINE is connected to the same local network as the other applications you want to link to. This can either be a local network or an ad-hoc (computer-to-computer) connection.
Basic Concepts Syncing MASCHINE using Ableton Link 1. Click the LINK button located in the header. 2. Start MASCHINE’s playback by clicking the play button. 3. To stop using Link, and leave the session, click LINK again. While connected, the LINK button displays how many other Link-enabled applications are connected via Link. The example below indicates that there are two other applications connected. Active Link session with two other instances connected.
Browser Browser Basics 4 Browser The Browser is the place where you can organize and categorize all of your Projects, Groups, Sounds, Plug-in presets, and Samples. This is done by tagging them, which means categorizing them by using keywords. Given that the MASCHINE software has some advantages over the hardware in this case, such as a very big screen and a QWERTY-keyboard, we will start with the software first. 4.1 Browser Basics This section describes some general concepts about the Browser. 4.1.
Browser Browser Basics Note that the Library is the only other way to display and access your files: You could also navigate to the same files in your file system. The (substantial) difference lies in the fact that the Library organizes your files in a musically relevant way. Which Files are Included in the MASCHINE Library? The files included in the MASCHINE Library are all MASCHINE-relevant files found in the folders whose paths are listed in the Library page of the Preferences panel.
Browser Searching and Loading Files from the Library Click the desired tab to show the corresponding pane of the Browser. The Library pane is described in section ↑4.2, Searching and Loading Files from the Library, and the Files tab is described in section ↑4.6, Loading and Importing Files from Your File System. 4.2 Searching and Loading Files from the Library The Browser’s Library pane allows you to search for any file in the MASCHINE Library.
Browser Searching and Loading Files from the Library 1 2 3 4 5 6 7 8 9 The elements of the Library pane. (1) Library tab: Click the Library tab to open the Library pane described here. (2) File Type selector: This contains seven icons, each representing the different files types of MASCHINE. From the left to right the file types are Project, Group, Sound, Instrument presets, Effect presets, Loops, and One-Shots. Only the selected file type is displayed in the Result list (8). See section ↑4.2.
Browser Searching and Loading Files from the Library (3) Content selector: Select the User icon to display user content. When the User icon is lit only user content is shown in the Result list. When the User icon is unlit only factory content is shown in the Results list. (8). See section ↑4.2.5, Choosing Between Factory and User Content. (4) Product selector: In the drop-down menu you can select a particular product, product category, and sometimes the bank and sub-bank of the selected product.
Browser Searching and Loading Files from the Library ▪ For all files, click the EDIT button at the far right of the bar to open the Attribute Editor and modify the tags and properties assigned to the selected file(s). See section ↑4.5, Editing the Files’ Tags and Properties. Overview of the Search Workflow in the Library Pane When searching for files via the Library pane, you can progressively refine your search by following this typical top-to-bottom workflow. The first two steps are mandatory: 1.
Browser Searching and Loading Files from the Library The closed Product selector header. 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.
Browser Searching and Loading Files from the Library (1) Product selector header: The header shows the selected product. If nothing has been selected, a generic label (All Instruments) is shown. Click on the header to close the Product selector. (2) Category/Vendor selector: Allows you to sort the Product list by Category or by Vendor. (3) Product list: Shows all products that are available in your 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 All Instruments. The tag filter and the results 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 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 4.2.3 Selecting a Product Category, a Product, a Bank, and a Sub-Bank The Product selector allows you to limit your search to a certain product category, a particular product, a specific bank of the product, or even a sub-bank in this bank.
Browser Searching and Loading Files from the Library 1 2 3 The opened Product selector (for Instrument presets). (1) Product selector header: The header shows the product or the selected product category — if there is no selection it shows a generic label (All Instruments in the picture above) corresponding to the type of file selected in the File Type selector above. Click the header to close the Product selector.
Browser Searching and Loading Files from the Library selected at a time. You can also select a category and close the Product selector by clicking its header (1) again: The header (1) will display the category that you have just selected, and the TYPES filter (and CHARACTER filter, if present) along with the Result list will be filtered by that category. (3) Product list: Shows the products for which files are available in the MASCHINE Library. Click the desired product in the list.
Browser Searching and Loading Files from the Library Selecting a Bank and a Sub-Bank When you select specific products in the Product list (see description above), an additional Bank menu appears under the closed Product selector: The Bank menu showing All Banks for REAKTOR Effects. This Bank menu allows you to select a particular bank of files for the selected product (MASCHINE in the picture above).
Browser Searching and Loading Files from the Library Products and Banks for User Content When you save your own MASCHINE files, they are automatically assigned to products, banks, and sub-banks as follows: ▪ When you save Projects, Groups or Sounds, they are automatically set to the Maschine product. ▪ When you save Instrument or Effect presets: ◦ Presets for Internal Plug-ins: The product is set to Maschine, while the bank is set to the particular Internal Plug-in for which the preset has been saved (e.g.
Browser Searching and Loading Files from the Library (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Loops: (.wav, .aiff) (7) One-Shots: (.wav, .aiff) ► Click the desired icon in the File Type selector to display only the files of that type in the Result list. → The selected icon is highlighted and the files are filtered accordingly. 4.2.
Browser Searching and Loading Files from the Library TYPES and CHARACTERS filters for the Massive MASSIVE Plug-in. ► Click tags to filter files based on the selected type and character tags. Click the selected tags again to deselect them and broaden the search. Tags for Projects, Groups and Sounds: 3 Type Levels For Projects, Groups and Sounds tags are structured into three hierarchical levels globally called Types.
Browser Searching and Loading Files from the Library ▪ You have already selected the Maschine product in the Product selector, and the Maschine 2.0 Library bank of this product (for more information on this, see section ↑4.2.3, Selecting a Product Category, a Product, a Bank, and a Sub-Bank). For now the TYPES filter shows only top-level tags. ▪ In order to find a bass, you first select the Instruments Type from the TYPES filter. ▪ In the second level, you select the Bass Sub-Type.
Browser Searching and Loading Files from the Library Selecting Multiple Tags from the Same Level In both TYPES and CHARACTERS filter you can select multiple tags from the same level: 1. Hold [Shift] on your computer keyboard and click two tags at a particular level to select these tags and all tags in-between. 2. Hold [Ctrl] ([Cmd] on macOS) on your computer keyboard and click any number of tags at a particular level to select these particular tags.
Browser Searching and Loading Files from the Library Highlighted triangle next to the Attributes (TYPES and CHARACTERS). 4.2.7 Performing a Text Search In the Search field you can enter your search query. The Search field.
Browser Searching and Loading Files from the Library ► Click in the Search field and type the desired text to limit the results to files containing this text. The search will be performed on the file paths, the file names, the products/banks/sub-banks, the tags, and the properties directly as you type. If you want to search for a combination of two words (e.g. “bass” and “analog”) just enter both words in the Search field with a space in between.
Browser Searching and Loading Files from the Library ▪ 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. ▪ See, and possibly edit, the attributes of the selected file(s) by clicking the EDIT button at the bottom right of the Browser. For more information on this, please refer to section ↑4.
Browser Searching and Loading Files from the Library ▪ If it is a Sample, it will be loaded into the Sound slot currently in focus. The Sampler Plugin will be automatically loaded in the first Plug-in slot in order to play the Sample. The Sample will spread over the entire velocity and note range. The file loaded will replace the object previously at that position or in this slot, if any! If needed, you can undo/redo your action via the shortcuts [Ctrl] + [Z]/[Y] (Windows) or [Cmd] + [Z]/[Y] (macOS).
Browser Searching and Loading Files from the Library ◦ If you drop the Sounds onto an existing Group, the Sounds will be loaded in the empty Sound slots of that Group — if there are not enough empty Sound slots, the Sounds will be loaded in the first Sound slots of the Group, replacing the Sounds previously loaded in these slots. ◦ If you drop the Sounds onto the “+” at the end of the Group List, the Sounds will be loaded in a new Group appended to the existing Groups.
Browser Searching and Loading Files from the Library Drag and drop of Groups and Sounds is possible only in Arrange view. Deleting Files in the Result List You can delete user files directly from the Result list: 1. 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.
Browser Additional Browsing Tools → The selected file is loaded in the focused Group, the focused Sound, or the selected Plugin slot (if it’s an Instrument Plug-in, it will be loaded in the first Plug-in slot of the focused Sound).
Browser Additional Browsing Tools When Autoload is enabled, any item that you select in the Result list of the Library pane or Files pane is automatically loaded into the focused Group or Sound slot or into the selected Plug-in slot, replacing any content currently in that location. This allows you to listen to this item in context with the rest of your Project while it is playing. Autoload is not available when browsing Projects.
Browser Additional Browsing Tools 4.3.3 Auditioning Samples When you are browsing Samples, a Prehear button and Prehear Volume slider appear next to the Autoload button. The Prehear controls. ► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear. When Prehear is enabled, you can directly hear Samples as you select them in the Result list of the Library pane or Files pane.
Browser Additional Browsing Tools ▪ + PATTERNS button disabled: Groups will be loaded without their Patterns. This allows you to load another set of Sounds while keeping your current Patterns. Notably, this can be very useful to try another drum kit with your current Patterns. +PATTERNS is only available when browsing Groups. 4.3.5 Loading Groups with Routing When the file type Groups is selected, the +ROUTING button is available in the Control bar of the Browser.
Browser Using Favorites in the Browser The Information box provides various information on the selected file(s). If the selected files have different characteristics, the corresponding fields in the Information box will read multi. 4.4 Using Favorites in the Browser Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently used items. This includes Projects, Groups, Sounds, Instrument presets, Effect presets, Loops and One-shots.
Browser Using Favorites in the Browser The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass. To activate the Favorites filter: 1. Click on the Filter Favorites control next to the search field to filter the results by Favorites: 2. The Filter Favorites control is now lit and the results list shows all Favorites that match the selected search criteria. Adding an Item to the Favorites List To add an item to the Favorites, follow the instructions below: 1.
Browser Using Favorites in the Browser 2. Click on the Set Favorite icon to add the corresponding item to the Favorites. → The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name: You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set Favorites icon will appear as soon as you place the mouse cursor over the entry.
Browser Editing the Files’ Tags and Properties ► Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. → The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view Favorites directly using the controller.
Browser Editing the Files’ Tags and Properties ▪ At any time you can edit the tags and properties of user files already in the Library by selecting them in the Result list of the Library pane and clicking the EDIT button at the bottom right of the Browser. After you have finished editing click APPLY to apply your changes to the selected files, or click the lit EDIT button again to cancel you changes and close the Attribute Editor. See section ↑4.
Browser Editing the Files’ Tags and Properties ► Click the desired tab at the top right of the Attribute Editor to show the corresponding page. You can adjust the overall height of the Attribute Editor by dragging its upper border. The number of items selected appears in yellow in the upper left corner of the Attribute Editor. Displaying Attributes of Factory Files When browsing in the Library pane, if the files selected in the Result list are factory files (i.e.
Browser Editing the Files’ Tags and Properties ▪ The TYPES page is available for all file types when opening the Attribute Editor both from the Library pane and the Files pane. Various columns are displayed, depending on the file type selected (see section ↑4.2.6, Selecting Type and Character Tags): ▪ The CHARACTERS page is available when opening the Attribute Editor from the Library pane to edit the tags of Instrument and Effect presets.
Browser Editing the Files’ Tags and Properties Displaying Tags ▪ In both TYPES and CHARACTERS pages, tags assigned to the selected files are marked with a check mark right of their name. ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right. In each column only one tag can be selected. Assigning Tags ► Click the empty check box right of the desired tag name to assign this tag to the selected files. → A check mark appears in the check box.
Browser Editing the Files’ Tags and Properties ► To create a new tag in any column, click the “+” symbol at the bottom of the column, enter the desired tag name with your computer keyboard and press [Enter] to confirm. Adding a new Sub-Type for the Loops Type. Deleting Tags Tags in the TYPES and CHARACTERS pages cannot be deleted manually. However, if a tag is not assigned to any file anymore, it will be automatically removed from its column. 4.5.
Browser Loading and Importing Files from Your File System As with the other pages of the Attribute Editor, the fields in the PROPERTIES page can be modified only if you have selected user files in the Result list. The attributes of factory files cannot be edited. 4.6 Loading and Importing Files from Your File System The Browser’s FILES pane allows you to browse your file system and import the desired folders to your MASCHINE Library.
Browser Loading and Importing Files from Your File System 1 2 3 4 5 6 The elements of the FILES pane. (1) FILES tab: Click the FILES tab to open the FILES pane described here. (2) Favorite bar: Displays all your Favorites. Click any Favorite to directly jump to that particular path and display its content in the Result list (5). See section ↑4.6.2, Using Favorites. (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system.
Browser Loading and Importing Files from Your File System (4) Recent Locations button: Click this button to see a list of the last visited locations and quickly jump any of them. See section ↑4.6.4, Navigating to Recent Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the Location bar (3). Only MASCHINE-compatible files are displayed. See section ↑4.6.5, Using the Result List.
Browser Loading and Importing Files from Your File System ► Click any Favorite in the Favorite bar to jump to that location. → The selected location is loaded in the Location bar and its content appears in the Result list.
Browser Loading and Importing Files from Your File System The Location bar provides following tools: ▪ Up arrow: Click the Up arrow on the left to go one level up in your file system.
Browser Loading and Importing Files from Your File System The last 10 locations you have visited are stored by MASCHINE and available here: ► Click the Recent Location button and select any recently visited location from the list. → This location is loaded in the Location bar and its content displayed in the Result list. 4.6.5 Using the Result List The Result list of the FILES pane shows the files and folders found in the path loaded in the Location bar above (see section ↑4.6.
Browser Loading and Importing Files from Your File System In front of each file, an icon indicates the type of the file: Icons for various file types. Navigating Your File System in the Result List You can further browse your file system in the Result list by opening any of the displayed folder: ► Double-click a folder to display its content.
Browser Loading and Importing Files from Your File System Loading Files from the Result List You can load files from the Result list using the same methods as in the Result list of the LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section ↑4.2.8, Loading a File from the Result List. Additional Features in the Result List ► Right-click ([Ctrl]-click on macOS) any entry in the Result list to open a context menu with additional commands.
Browser Loading and Importing Files from Your File System Command Description Sort by Name Sorts the Result list according to the item names. Sort by Date Sorts the Result list according to the item dates. 4.6.6 Importing Files to the MASCHINE Library Apart from the huge MASCHINE factory library, you might want to use your own samples or any MASCHINE files you received from other users. As described previously, you can load them directly from the FILES pane. If this can come in handy, e.g.
Browser Loading and Importing Files from Your File System 3. Select the desired folder as described above. 4. Click the IMPORT button at the bottom right of the Browser. You will be presented with the Attribute Editor. 5. In the Attribute Editor, tag the files you are about to import to the Library as described in section ↑4.5, Editing the Files’ Tags and Properties. 6. When you are done, click OK at the bottom right of the Browser to import the files to the Library.
Browser Locating Missing Samples ◦ If Samples reside in a subfolder of this subfolder, the name of the lower subfolder will be used as sub-bank. 4.7 Locating Missing Samples If you are loading a MASCHINE Project and one or more referenced Sample(s) cannot be found for any reason, a dialog in which you can locate the missing Samples will appear. The Missing Sample dialog allows you to locate missing Samples. Sounds referencing missing Samples are marked with an exclamation mark.
Browser Locating Missing Samples Locating or Purging Missing Samples at a Later Time When Sample references cannot be resolved, two additional Purge Missing Samples and Find Missing Samples appear in the context menu of the affected Sound(s) in the Sound List. The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing. 1. Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound. 2.
Browser Using Quick Browse 4.8 Using Quick Browse Quick Browse is a feature that allows you to quickly recall a search query you performed to get to a given file. Let’s say you have loaded a kick Sample after browsing the Library, then loaded a snare Sample to another Sound slot and now you realize you are not satisfied with that kick Sample, but you heard a nice kick Sample just before you chose the current one.
Browser Using Quick Browse ▪ Quick Browse for Instrument/Effect presets and for Samples: Click the magnifying glass in the upper right corner of the Control area to recall the search query that was used for the Plugin in the selected slot: ◦ If a Sampler Plug-in is selected, it will recall the search query used for the Sample loaded in that Sampler. If several Samples are loaded in the Sampler, it will recall the search query for the Sample in the selected Zone in the Zone List.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 5 Managing Sounds, Groups, and Your Project This chapter explains how to handle the various objects that structure any MASCHINE Project: Sounds, Groups, and the Master. 5.1 Overview of the Sounds, Groups, and Master In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to the highest: ▪ Sounds are played by the pads. They are loaded into Sound slots.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 1 2 The Group List (1) and the Sound List (2) in the Arrange view of the software. 5.1.1 The Sound, Group, and Master Channels From a routing point of view, each Sound, each Group, and the Master represents a distinct channel in MASCHINE. The channels of the 16 Sounds in a Group are mixed together and sent to the Group channel, where their sum will be processed by the Group’s Plug-ins, if any.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master When the software is in Mix view, Sounds, Groups, and the Master are represented by channel strips in the Mixer. This view provides you with an intuitive control on both the audio and MIDI routings of any Sound, Group, and the Master. Please refer to section ↑13.2, The Mixer for more information. The Mixer displaying the channel strips for all Sounds in a Group. 5.1.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound slots between other slots containing Sounds), depending on how you prefer to play your Sounds from your pads. You cannot create Sound slots, but instead you can load/unload Sounds to/from the 16 existing Sound slots in each Group.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ The selection, on the other hand, determines what will be affected by your actions (e.g., adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the Sound List) is implicitly selected — nothing special here: This just means that the Sound whose parameters are currently displayed will be indeed affected by the changes you do on these parameters.
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ If you set the focus to a Sound or Group which is already included in the current selection, the focus is moved to this new Sound or Group but the selection is preserved. This notably allows you to check the parameters of any selected Sound or Group while keeping the ability to modify parameters for the entire selection.
Managing Sounds, Groups, and Your Project Managing Sounds 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 Managing Sounds Sounds: Sound List or Pad View With the exception of naming Sound slots, all procedures described in the following sections are available both in the Sound List and in the Pad view. The Pad view is an alternative representation of your Sound slots that puts emphasis on their relationship with the pads on your controller. The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button.
Managing Sounds, Groups, and Your Project Managing Sounds 5.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑4.8, Using Quick Browse for more information. 5.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the software.
Managing Sounds, Groups, and Your Project Managing Sounds 1. Select PAD MODE. 2. Press SELECT. 3. Press the pad containing the desired Sound. The Sound is focused without being triggered. 5.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s or Sample’s name. You can also rename Sound slots manually.
Managing Sounds, Groups, and Your Project Managing Sounds 5.2.4 Changing the Sound’s Color You can change the color of each individual Sound in the software. To do this: 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.
Managing Sounds, Groups, and Your Project Managing Sounds Notes on Changing the Color of Multiple Sounds When opening the Color Palette (in order to set a new color setting for the selected 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.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save from the context menu: → Your modifications are saved to the Sound file. Even if you don’t save a Sound individually, its current settings will still be saved with your Project. But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and Projects.
Managing Sounds, Groups, and Your Project Managing Sounds ► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view and select Save As… from the context menu: A Save Sound dialog appears. By default, the Sound file inherits the name of its Sound slot and it will be saved in your Standard User Directory (as defined in Preferences > Library > User, see section ↑3.6.4, 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 4. Press the pad of the target Sound slot (this can also be in another Group, in this case first press GROUP, then the pad of the desired Group, then GROUP again to deactivate it). → All parameters of the Sound will be copied (including the Pattern content for that Sound if you have enabled the Copy Events option). The copied Sound will replace any Sound previously loaded in the target Sound slot. 5.2.
Managing Sounds, Groups, and Your Project Managing Sounds → Each Sound takes its new place in the Group. On your controller, the Sounds will be triggered by the pads whose numbers appear left of the Sound slots in the Sound List or on the cells in the Pad view. You can also drag Sounds to another Group in the Group List of the Arranger: The Sounds will be inserted in the first empty Sound slots of that Group, and that Group will automatically get the focus.
Managing Sounds, Groups, and Your Project Managing Groups Resetting a Sound slot. Resetting a Sound Slot on Your Controller ► To reset a Sound slot, hold SHIFT + ERASE and then press the pad related to the Sound you want to reset. → The Sound is removed from the pad, and the pad is turned off. 5.3 Managing Groups This section describes the global editing functions available for Groups.
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the Groups in the Group List, opened via a right-click ([Ctrl]-click on macOS) on the desired Group: ▪ 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.
Managing Sounds, Groups, and Your Project Managing Groups 5.3.1 Creating Groups Creating a Group will add a new empty Group at the end of the Group List. You can then fill this Group with the Sounds of your choice. ► To create a Group, click the “+” at the end of the Group List. → A new empty Group is created at the end of the Group List with the default name and color. Creating Groups on the Controller On your controller: ► Press and hold the GROUP button.
Managing Sounds, Groups, and Your Project Managing Groups Automatic Group Bank Management In MASCHINE Group banks are managed automatically, so that you don’t have to create or delete them manually. Group are always adjacent in the Group List: you cannot have any gap in the Group List — nor in any Group bank. When you create a new Group, the following happens: ▪ As long as the last Group bank contains less than eight Groups, the new Group is created in that bank.
Managing Sounds, Groups, and Your Project Managing Groups In your operating system, Group files have the extension “.mxgrp” (MASCHINE 2) or “.mgrp” (MASCHINE 1.x). To learn more about the Browser, refer to ↑4, Browser. Loading Groups on Your Controller On your controller, use the Browser to load Groups: ▪ You can browse your MASCHINE Library for the desired Group. For more information on how to do this, please refer to section ↑4.2, Searching and Loading Files from the Library.
Managing Sounds, Groups, and Your Project Managing Groups 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. 5.3.4 Changing the Group’s Color You can change the color of each individual Group in the software. To do this: 1.
Managing Sounds, Groups, and Your Project Managing Groups By default each Group has a different color. But you can choose a common default color for Groups in Preferences > Colors > Group Default. See section ↑3.6.8, Preferences – Colors Page for more information. Once you have set a custom color for a Group as described above, the Group will retain its color when you move it in the Group List, and the color will be stored with the Group when you save the Group for later use.
Managing Sounds, Groups, and Your Project Managing Groups ► Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Save from the context menu: → Your modifications are saved to the Sound file. Even if you don’t save a Group individually, its current settings will still be saved with your Project. But once a Group is saved and tagged, it is available in the Browser for use in other Projects.
Managing Sounds, Groups, and Your Project Managing Groups 1. Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Save As… from the context menu: A Save Group dialog appears. By default, the Group file will be saved in your Standard User Directory (as defined in Preferences > Library > User, see section ↑3.6.4, Preferences – Default Page for more information). 2.
Managing Sounds, Groups, and Your Project Managing Groups To copy and paste Groups in the software: 1. Right-click (on macOS: [Ctrl]-click) the Group you want to copy in the Group List or the Group name in the top left corner of the Pattern Editor. 2. In the context menu, choose Copy to copy the Group.
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 5. Press the pad of your target Group (this can also be in another Group bank, in this case first press the Left/Right Arrow button under the display to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white pad after the last colored pad to create the new Group and automatically paste the copied Group there.
Managing Sounds, Groups, and Your Project Managing Groups 5.3.8 Deleting Groups Deleting a Group will remove it from the Group List. It is not possible to have a Project without any Groups; attempting to delete the last remaining Group in a Project will simply reset the Group to the default values. You can select multiple Groups to delete them all at once! See ↑5.1.3, Selecting Multiple Sounds or Groups for more information.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 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 + GROUP and press the pad 9–16 of the Group you want to delete. If the Group is in another Group bank, first press the Left/Right Arrow buttons under the display to select the Group bank. → The Group is removed. All following Group are shifted left to fill the gap. 5.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 1. Right-click (on macOS: [Ctrl]-click) the Group in the Group List left of the Arranger and select Save with Samples… from the context menu: You will be presented with the Save Group 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 Controls Description Group Displays the name and location of the Group file to be created. The Samples will be put in a folder with the same name in the same location. By default, the Group file inherits the name of the Group in the Project and it will be saved in the “Groups” subfolder of your Standard User Directory (as defined in Preferences > Library > User, see section ↑3.6.
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 ↑3.6.4, Preferences – Default Page for more information).
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio To export audio from MASCHINE: 1. Set the Loop Range to the region that you want to export. 2. Choose Export Audio… from the File menu or from the File submenu in the MASCHINE menu. You will be presented with the Export Scenes as Audio panel (see picture below). 3. Select the Range and Source and then the destination (see description below). 4.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Export Scenes as Audio panel. The following parameters are available in the Export Audio panel, which is split into three distinct sections: Source, Options, and Destination. Source Section The Source section allows you to define exactly what will be exported.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Range Set the range for the audio you want to export. The options here will differ depending on whether MASCHINE is in Ideas view or Song view. In Ideas view the following options are available: All: Select this option to export all Scenes as audio. Selected: Select this option to export the selected Scene as audio.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sounds. Only Sounds with a check mark will be exported. The check box of Group entries allow to check/uncheck all Sounds of the Group at once. If some of the Sounds only are checked in a Group, the Group is “dimmed checked.” Options Section The Options section allows you to make settings related to the quality of the audio export.
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Select from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz. Bit Depth Select from three different bit depths (or bit resolutions) for the exported audio file(s): 16 Bit is the bit depth of the audio CD format. 24 Bit is well suited for mastering.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats ▪ If Group Outputs is selected in the Output menu the audio files will be named as follows: [Project name] - [Group order number] [Group index (letter + number)] [Group name] [BPM].wav/aiff The Group order number is a two-digit number indicating the “order of appearance” of the Group in the Group List. This ensures that an alphabetical listing of the exported files will reflect the structure of your Project.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats A REX file loaded in the first Sound slot. 5.5.2 Importing MPC Programs to Groups MASCHINE allows you to import Drum program files (.PGM and .AKP) from the Akai MPC series to Groups. Supported models include the MPC4000, MPC3000, MPC2000, MPC500, MPC1000 and the MPC2500.
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter 1000, 2500 0 (XL) 0 Voice Overlap x − x x Polyphony Filter1 Type x − − − Filter Type Filter1 Frequency x − x x Filter Cutoff Filter1 Resonance x − x x Filter Resonance Filter1 Velocity to Frequency x − − − Velocity Cutoff Mixer Level x x x x Track Level Mixer Pan x − x x Track Pan Velocity to Level x − − − Velocity to Vo
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats 2. Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel: 3. In the Input section of the panel, select one of the import options (see table below). 4. Click OK to start the import procedure (or Cancel to close the panel without importing anything).
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Control Description Import All Banks Select this to import all Banks of the MPC Program file. Each Bank will be loaded into a separate Group. Import One Bank Select this if you only want to import a single Bank. Use the drop-down menu to the right to select which Bank you want to import. The list below shows you a preview of the sounds in the selected MPC Bank.
Playing on the Controller Adjusting the Pads 6 Playing on the Controller This chapter describes the numerous features available in MASCHINE to adjust and enhance your playing, both during live performances and when recording Patterns. 6.1 Adjusting the Pads You can optimize and fine-tune the way the pads of your controller react to your playing: ▪ Choose a pad mode that best fit your playing needs: ↑6.1.1, The Pad View in the Software.
Playing on the Controller Adjusting the Pads 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. Upon selection, the parameters underneath, as well as the Control area above are updated accordingly.
Playing on the Controller Adjusting the Pads Parameter Description Key Adjusts the base key for the selected pad. See section Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section Using Choke Groups below. Link Configures Pad Link for the selected pad. See section Using Link Groups below. 6.1.2 Choosing a Pad Input Mode By default, your pads play all Sounds of the selected Group — we call this Pad Mode.
Playing on the Controller Adjusting the Pads the focused Sound). The pitch of the played note is defined by the base key (see section Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT + FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using Keyboard Mode The KEYBOARD button located above the pads activates and deactivates Keyboard mode. In this mode your pads play the focused Sound at sixteen different pitches.
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds Adjusting the Base Key in the Software By default the base key of every Sound slot is C3 (i.e. middle C in the MASCHINE convention). To change the base key of the selected pad(s) / Sound slot(s) in the software: 1. Click the Pad View button above the Sound List in the Pattern Editor to show the Pad view for the focused Group. 2.
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds 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.
Playing on the Controller Playing Tools 6.3 Playing Tools On top of the various pad settings described in the previous section (see ↑6.1, Adjusting the Pads), MASCHINE also offers you a series of intuitive playing tools particularly useful when playing live: ▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑6.3.1, Mute and Solo. ▪ Choke All Notes allow you to cut all playing audio: ↑6.3.2, Choke All Notes.
Playing on the Controller Playing Tools change this behavior by enabling the Audio Mute button in the Audio page of the Sound’s Output properties (see section ↑12.1.2, Configuring the Main Output of Sounds and Groups) as well as in Solo and Mute mode on your controller: Activating the audio mute for Sounds will ensure that not only the events are muted, but any remaining audio as well. To momentarily mute all audio from all Sounds and Groups at once, please refer to section ↑6.3.2, Choke All Notes.
Playing on the Controller Playing Tools Soloing a Group. 2. To unsolo a Group, right-click (on macOS: [Ctrl]-click) the Group index again. Muting a Sound 1. To mute a Sound, click the number on the left side of the Sound slot in the Pattern Editor. Muting a Sound. 2. To unmute the Sound, click the number again. By default, the Mute on Sounds is an event mute: events for muted Sounds are not triggered, but the audio coming from previous events might still be audible (reverb tail, etc.).
Playing on the Controller Playing Tools Muting a Group 1. To mute a Group, click the Group index (letter + number) on the left side of the Group in the Arranger: Muting a Group. 2. To unmute the Group, click the Group index again. Soloing Sounds and Groups on the Controller 1. Press SOLO to enter Solo mode. 2. To solo a Sound, press the related pad. 3. To solo a Group, press GROUP followed by the related pads 9–16. Muting Sounds and Groups 1. Press MUTE to enter Mute mode. 2.
Playing on the Controller Playing Tools 6.3.2 Choke All Notes The Choke All Notes feature allows you to kill any note or event currently playing in your Project. This affects the audio coming from all Plug-ins (Internal, Native Instruments, and External). Choke All Notes is only available on your controller: ► 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.
Playing on the Controller Playing Tools ▪ At the Master level, the Groove properties affect all Sounds of all Groups. The Master’s swing is added to the groove set for each individual Group and Sound via their own Groove properties. The Groove properties have a single Parameter page: Swing. Please refer to section ↑3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to display and navigate sets of Channel properties.
Playing on the Controller Playing Tools ▪ 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. The picture above only illustrates how the groove function affects the sound — adjusting the Groove properties will not effectively move events in the Patterns displayed in the Pattern Editor! 6.3.
Playing on the Controller Performance Features ► Press the TEMPO button and turn the Encoder to quickly adjust the tempo of your Project. Press and turn the Encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled. These shortcuts control the Tempo parameter of MASCHINE. In the software this parameter is available in the Header: The Tempo parameter in the software’s Header. 6.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode. In this picture, blue cells represent modules sending “control” signals, i.e. triggering messages (e.g.
Playing on the Controller Performance Features The Control Signal Flow—Pads in Pad Mode The following diagram illustrates signal flow between your hits on the pads in Pad Mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Pad Mode. In this picture you will notice the following: ▪ Note Repeat takes the place of the Scale, Chord, and Arp modules between the live input on the pads and the Pattern Editor.
Playing on the Controller Performance Features 6.4.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano according to, e.g., the minor pentatonic scale without hitting a “false” pad (note) on your controller, or to play chords that always fit by hitting single pads.
Playing on the Controller Performance Features → Hit a few pads: They trigger the notes from the scale based on the new selected root note. Furthermore all your pads were shifted in semitones so that pad 1 still triggers the root note of the selected scale. Creating Chords Now we want the pads to trigger chords instead of single notes. First we want chords based on the selected scale: 1. Press CHORDS to enter Chord mode. 2. Press the Right Arrow button to access the Mode parameter. 3.
Playing on the Controller Performance Features General Notes on Scales and Chords ▪ The Scale and Chord parameters are the same for all Sound slots in a particular Group, you can have different Scale and Chord parameters for each Group. The Scale and Chord parameters of each Group are saved with the Project. However, when you save a Group the Scale and Chord parameters are not saved with the Group. ▪ The Scale and Chord engine processes live input from the pads of your controller only.
Playing on the Controller Performance Features ▪ Scale Type (Chromatic by default): Selects the scale pattern whose notes will be mapped onto the pads of your controller: The Root Note is on pad 1, the 2nd note of the selected Scale Type is on pad 2, etc. Once all notes are mapped, the next pad triggers the root note in the next octave. The Root Note and its octaves are indicated by fully lit pads, while other pads are dimmed.
Playing on the Controller Performance Features Modes Scales: Scale Bank Type Degree Formula Ionian Modes Ionian 1234567 Dorian Modes Dorian 1 2 ♭3 4 5 6 ♭7 Phrygian Modes Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 Lydian Modes Lydian 1 2 3 ♯4 5 6 7 Mixolydian Modes Mixolyd 1 2 3 4 5 6 ♭7 Aeolian Modes Aeolian 1 2 ♭3 4 5 ♭6 ♭7 Locrian Modes Locrian 1 ♭2 ♭3 4 ♭5 ♭6 ♭7 Ionian b2 Modes Ion b2 1 ♭2 3 4 5 6 7 Dorian b5 Modes Dor b5 1 2 ♭3 4 ♭5 6 ♭7 Harm Phryg Modes Har Phry 1 ♭2 ♭3 4 5
Playing on the Controller Performance Features Jazz Scales Scale Bank Type Degree Formula Lydian ♭7 Jazz Lyd ♭7 1 2 3 ♯4 5 6 ♭7 Altered Jazz Altered 1 ♭2 ♯2 3 ♯4 ♭6 ♭7 Diminished Jazz Diminshd 1 ♭2 ♯2 3 ♯4 5 6 ♭7 Mixo b13 Jazz Mix b13 1 2 3 4 5 ♭6 ♭7 Mixo b9 b13 Jazz Mixb9b13 1 ♭2 3 4 5 ♭6 ♭7 Lydian ♭7 b2 Jazz Lyd ♭7b2 1 ♭2 3 ♯4 5 6 ♭7 Bebop Jazz Bebop 1 2 3 4 5 6 ♭7 7 Whole Tone Jazz Whole Tn 1 2 3 ♯4 ♯5 ♭7 Blues Maj Jazz Blues Ma 1 2 ♭3 3 5 6 Blues Min Jazz Blues
Playing on the Controller Performance Features World Scales Scale Bank Type Degree Formula Hungarian Min World Hung Min 1 2 ♭3 ♯4 5 ♭6 7 Hungarian Maj World Hung Maj 1 ♯2 3 ♯4 5 6 ♭7 Neapolitan World Neapoltn 1 ♭2 ♭3 4 5 ♭6 7 Spanish World Spanish 1 ♭2 ♭3 3 4 5 ♭6 ♭7 Greek World Greek 1 2 ♭3 ♭4 5 ♭6 ♭7 Jewish 1 World Jewish 1 1 ♭2 3 4 5 ♭6 ♭7 Jewish 2 World Jewish 2 1 2 ♭3 ♯4 5 6 ♭7 Indian 1 World Indian 1 1 ♭2 ♭3 ♯4 5 ♭6 7 Indian 2 World Indian 2 1 2 ♭3 ♯4 5 6 7 Ind
Playing on the Controller Performance Features 5-Tone Scales Scale Bank Type Degree Formula Penta I 5-Tone Pent I 12356 Penta II 5-Tone Pent II 1 2 4 5 ♭7 Penta III 5-Tone Pent III 1 ♭3 4 ♭6 ♭7 Penta IV 5-Tone Pent IV 12456 Penta V 5-Tone Pent V 1 ♭3 4 5 ♭7 Hirajoshi 5-Tone Hira 1 2 ♭3 5 b6 Insen 5-Tone Insen 1 ♭2 4 5 ♭7 Kokin Joshi 5-Tone Kokin 1 2 4 5 b6 Akebono 5-Tone Akebono 1 2 ♭3 5 6 Ryukuan 5-Tone Ryukuan 13457 Abhogi 5-Tone Abhogi 1 2 ♭3 4 6 Bhupkali
Playing on the Controller Performance Features Modern Scales Scale Bank Type Degree Formula Octatonic Modern Octatonc 1 2 ♭3 4 ♯4 ♯5 6 7 Acoustic Modern Acoustic 1 2 3 ♯4 5 6 ♭7 Augmented Modern Augmentd 1 ♭3 3 5 ♯5 7 Tritone Modern Tritone 1 ♭2 3 ♭5 5 ♭7 Leading Wh Tone Modern Lead Wh 1 2 3 ♯4 ♯5 ♯6 7 Enigmatic Modern Enigmatc 1 ♭2 3 ♯4 ♯5 ♯6 7 Scriabin Modern Scriabin 1 2 3 ♯4 6 ♭7 Tcherepnin Modern Tcherepn 1 ♯1 ♯2 3 4 5 ♯5 6 7 Messiaen I Modern Mes I 1 2 3 ♯4 ♯5 #
Playing on the Controller Performance Features Major Scales Scale Bank Type Degree Formula Natural Major Natural 1234567 Lydian Major Lydian 1 2 3 ♯4 5 6 7 Mixolydian Major Mixolyd 1 2 3 4 5 6 ♭7 Major Minor Major Maj Min 1 2 3 4 5 ♭6 ♭7 Harmonic Major Major Har Maj 1 2 3 4 5 ♭6 7 Dbl Har Major Major Dbl Maj 1 ♭2 3 4 5 ♭6 7 Neapolitan Maj Major Nea Maj 1 ♭2 3 4 5 6 7 Major Locrian Major Maj Loc 1 2 3 4 ♭5 ♭6 ♭7 Blues Major Major Blues Ma 1 2 ♭3 3 5 6 Bebop Major Maj
Playing on the Controller Performance Features Minor Scales Scale Bank Type Degree Formula Natural Minor Natural 1 2 ♭3 4 5 ♭6 ♭7 Dorian Minor Dorian 1 2 ♭3 4 5 6 ♭7 Phrygian Minor Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7 Minor Major Minor Min Maj 1 2 ♭3 4 5 6 7 Harmonic Minor Minor Har Min 1 2 ♭3 4 5 ♭6 7 Dbl Har Minor Minor Dbl Min 1 2 ♭3 ♯4 5 ♭6 7 Neapolitan Min Minor Nea Min 1 ♭2 ♭3 4 5 ♭6 7 Minor Locrian Minor Min Loc 1 2 ♭3 4 ♭5 ♭6 ♭7 Blues Min Minor Blues Mi 1 ♭3 4 ♯4 5 ♭7
Playing on the Controller Performance Features Available Chords The Chord engine can automatically generate chords depending on the pad you hit and possibly the selected scale. The Chord engine is controlled via two parameters: ▪ Chord Mode (Off by default): Selects from three different modes for generating chords: ◦ Off: No chords will be generated. Only the notes corresponding to the pads that you hit will be played.
Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Major 4 and 7 Minor 3 and 7 Suspended 4 5 and 7 Major 7 4, 7, and 11 Minor 7 3, 7, and 10 Dominant 7 4, 7, and 10 Dominant 9 4, 7, 10, and 14 Minor 7♭5 3, 6, and 10 Diminished 7 3, 6, and 9 Augmented 4 and 8 Quartal 5, 10, and 15 Trichord 5 and 11 When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic, the chords are bound to the particular notes includ
Playing on the Controller Performance Features Scales and Chords: Visual Feedback on the Pads When scales and/or chords are enabled, the LEDs of the pads keep you informed at any time on the current scale and chord configuration.
Playing on the Controller Performance Features Condition Enharmonic Spelling Scale Type is set to Chromatic All C Keys C# D D# E F F# G G# A A# Scale Type is not set to C Chromatic C# D E♭ E F F# G A♭ A B♭ B Chord Mode is set to C Chord Set and Chord Type is set to Major 1-8 D♭ D E♭ E F F# G A♭ A B♭ B Chord Mode is set to Chord Set and Chord Type is set to Minor 1-8 C# D D# E F F# G G# A B♭ B C Erasing Notes When erasing notes from your controller, the not
Playing on the Controller Performance Features Like the Scale and Chord engine, the Arp engine is dedicated to Keyboard mode. The Arp engine can be seen as a melodic extension of the Note Repeat: Actually, Arp replaces and extends Note Repeat in Keyboard mode. Instead of playing repeated notes at a constant pitch you can play sequences of notes at different pitches.
Playing on the Controller Performance Features 1. Press and hold NOTE REPEAT, then hold any pad. The Sound of the pad is repeatedly triggered at the rate shown at the bottom of the controller’s display. 2. Turn the Encoder to select another repetition rate. → This is a handy way to add live ornaments to your Pattern. You can also use Note Repeat to program your Pattern (e.g., record a continuous hi-hat).
Playing on the Controller Performance Features Element Description TYPE Sets the sequential order of the arpeggiated notes. Turn the Encoder to choose from following settings: UP starts from the root note and plays the notes up through the chord. DOWN plays the notes the other way around. UP-DOWN plays the notes in both directions alternatively. PLAYED plays the notes in the order you pressed down the corresponding pads on your controller.
Playing on the Controller Performance Features 6.4.5 Swing on Note Repeat / Arp Output The Swing engines (at the Master, Group, and Sound level) process notes coming from the Pattern Editor and from the Arp engine (pads in Keyboard mode) or Note Repeat engine (pads in Pad Mode). In other terms, the swing is applied not only to your Patterns but also to any live sequence generated by the Arp or Note Repeat engine. The applied swing is not recorded in the Pattern Editor.
Playing on the Controller Using Lock Snapshots ⇨ 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.
Working with Plug-ins Plug-in Overview 7 Working with Plug-ins Plug-ins are the building blocks of all sound in MASCHINE. They can be used at all three levels of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master. This chapter includes various general or specific Plug-in topics: ▪ An overview of Plug-ins and how to handle them (↑7.1, Plug-in Overview).
Working with Plug-ins Plug-in Overview The Control area displaying the content of the Sound Kick Ordinance of the selected Sound slot 1. Sounds, Groups, and the Master can each hold any number of Plug-ins. These are stacked up in the Plug-in List, on the left of the Control area.
Working with Plug-ins Plug-in Overview ► To show the Plug-in List, click the little Plug-in icon at the far left of the Control area: In the Plug-in List, the processing order is always from top to bottom. In addition to Plug-ins, each Sound, each Group, and the Master also provide a set of global settings called Channel properties. These are described in section ↑6.3.3, Groove and in chapter ↑12, Audio Routing, Remote Control, and Macro Controls.
Working with Plug-ins Plug-in Overview Instrument Plug-ins Effect Plug-ins Internal Plug-ins Audio, Sampler, Drumsynth, Bass Synth MASCHINE internal effects Native Instruments Plug-ins VST/AU instrument plug-ins from Native Instruments’ range of products VST/AU effect plug-ins from Native Instruments’ range of products External Plug-ins Third-party VST/AU instrument plug-ins Third-party VST/AU effect plug-ins ▪ Instruments: These Plug-ins generate sound.
Working with Plug-ins Plug-in Overview ◦ Internal Effects: These are the Effect Plug-ins included with MASCHINE. To read every details about each of the MASCHINE internal effects, and how to use them, please refer to chapter ↑12, Audio Routing, Remote Control, and Macro Controls and ↑15, Effect Reference. ◦ Native Instruments: You can use all Native Instruments KOMPLETE effects installed on your computer as VST/AU plug-ins. Products from Native Instruments are tightly integrated in MASCHINE.
Working with Plug-ins Plug-in Overview 7.1.3 Loading, Removing, and Replacing a Plug-in The procedure to load a Plug-in with its default settings is common to all levels (Sound, Group, and Master) and all Plug-in types (Internal, Native Instruments, and External, as well as Instrument and Effect): 1. Set the focus to the Sound, Group or the Master where you want to load the Plug-in (see section ↑3.3.3, Focusing on a Group or a Sound).
Working with Plug-ins Plug-in Overview The Plug-in List is still empty, because we selected an empty Sound slot. The only visible element in the list is a “+” icon at the top left. 3. Click the slot with the “+” icon at the top of the Plug-in List. This opens the Plug-in menu where you can select the desired Plug-in for loading (see below for a detailed description of the entries contained in the Plug-in menu).
Working with Plug-ins Plug-in Overview Removing and Replacing a Plug-in Once you have loaded a Plug-in into a Plug-in slot, the slot shows the name of the loaded Plug-in, preceded by an icon describing the type of Plug-in (Instrument or Effect), and followed by a down-pointing arrow: A few Plug-ins loaded. This down-pointing arrow lets you open the Plug-in menu for slots already hosting a Plug-in.
Working with Plug-ins Plug-in Overview ► To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None at the top of the menu. → The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap. Furthermore, the Plug-in menu also allows you to replace the loaded Plug-in with another one: ► To replace the Plug-in currently loaded in a slot, open its Plug-in menu and select another Plug-in in the menu.
Working with Plug-ins Plug-in Overview Content of the Plug-in Menu The entries in the Plug-in menu differ according to the Plug-in slot from which you are calling the menu: ▪ The first Plug-in slots of Sounds accepts both Instrument and Effect Plug-ins. The entries available in their Plug-in menu are listed in the following table. ▪ All other Plug-in slots at the Sound, Group, and Master level only accept Effect Plug-ins.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Sampler (first Plug-in slot of Sounds only) The Sampler is the Internal Instrument Plug-in used to play back all Samples in MASCHINE — this essential Plug-in will be described in details in section ↑7.2, The Sampler Plug-in. Drumsynth submenu (first Plug-in slot of Sounds only) Lists the available Drumsynths: Kick, Snare, Hi-hat, Tom, and Percussion.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save As… Allows you to save the current Plug-in settings as a preset for later use. This preset will appear in the Browser. Save As Default… (only Allows you to save the current Plug-in settings as a default when a Native Instruments preset. This default preset will be recalled each time you load or External Plug-in is the Plug-in from the Plug-in menu.
Working with Plug-ins Plug-in Overview Bypassing Plug-in slots can be very useful in various situations, for example: ▪ Bypassing and re-enabling an effect during a live performance. ▪ Comparing the sound with and without an effect. ▪ Troubleshooting complex effect chains and routings (“Where does this strange reverb tail come from?”). To bypass a Plug-in, do the following: 1. If you want to bypass a Plug-in of the Master, click the MASTER tab in the top left corner of the Control area. 2.
Working with Plug-ins Plug-in Overview 7.1.6 Using Side-Chain Some Plug-ins provide side-chaining. This allows you to control their influence on the audio via another audio signal sent to their secondary, side-chain input. This extra routing feature is described in details in section ↑14.1.3, Using the Side-Chain Input. 7.1.7 Moving Plug-ins MASCHINE allows you to move Plug-ins across the Plug-in List and across Sounds and Groups.
Working with Plug-ins Plug-in Overview 2. In the Plug-in menu that opens, select Cut. 3. Select the Sound, Group or the Master where you want to move the Plug-in (see section ↑3.3.3, Focusing on a Group or a Sound). 4. Click the down-pointing arrow of the target slot (the slot where you want to move the Plugin to). 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 7.1.9.1 Saving Plug-in Presets Saving Plug-in presets can only be done in the software via the Plug-in menu. To access the Plug-in menu, click the drop-down arrow on the right-hand side of the Plug-in slot in the Plugin List: Opening the Plug-in menu. The commands for saving Plug-in presets are found at the bottom of the Plug-in menu. The commands for saving and recalling Plug-in presets in the Plug-in menu.
Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Save Saves your changes to the preset currently loaded. Save As… Saves the current Plug-in settings as a new preset on your hard disk. Save As Default… Saves the current settings and assignments as the default preset for the Plug-in. This default preset will be loaded with this Plug-in the next time it is opened. Remove Default Preset Removes the default preset for the current plug-in.
Working with Plug-ins Plug-in Overview You can assign tags to the Plug-in presets that you saved. This is done in the Browser in the MASCHINE software. For more information, please refer to section ↑4.5, Editing the Files’ Tags and Properties. KOMPLETE products and MASCHINE EXPANSIONS have to be updated to ensure their full integration into the MASCHINE Library. To update any Native Instruments product installed on your computer, please start the Service Center.
Working with Plug-ins The Sampler Plug-in 3. Click Remove Default Preset in the menu to remove the default preset. → The default plug-in preset is removed and the plug-in will load with its initialized settings next time it is opened. You can also use the Plug-in Manager in the Preferences panel to gain an overview of your default plug-in presets and also remove them if required. Removing the default preset for a plug-in is a software only feature. 7.
Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑11.5, Recording and Editing Modulation and ↑12.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dialog will appear and help you locate the missing Sample(s) again. Please refer to section ↑4.7, Locating Missing Samples for more information.
Working with Plug-ins The Sampler Plug-in 7.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software.
Working with Plug-ins The Sampler Plug-in Parameter Description VOICE SETTINGS Polyphony Here you can define a voice limit for the Sound, that is the maximum number of voices (notes) the Sampler can play simultaneously. Once this polyphony has been reached, triggering any additional note will kill the “oldest” note still playing (i.e. the note that was triggered first). The available values are 1, 2, 4, 8 (default), 16, 32, and 64.
Working with Plug-ins The Sampler Plug-in 7.2.2 Page 2: Pitch / Envelope Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE 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 ↑7.2.5, Page 5: LFO.
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 Parameter Description FX Comp Basic compressor allowing you to give a Sound more density. Drive Defines the amount of saturation applied to a Sound. SR SR stands for “sample rate”: you can use it to lower the original sample rate in order to make the Sound more lo-fi. Bits Allows you to lower the original bit depth of the Sound, resulting in a more rough, digital sounding lo-fi effect.
Working with Plug-ins The Sampler Plug-in 7.2.4 Page 4: Modulation Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software. MODULATION ENVELOPE The MODULATION ENVELOPE section offers an additional envelope allowing further modification (or “modulation”) of specific Sampler parameters according to the way you play on the pads. Its parameters are matched to those of the AMPLITUDE ENVELOPE section on page 2 (see ↑7.2.
Working with Plug-ins The Sampler Plug-in DESTINATION This is where you define modulation targets for the modulation envelope, i.e. the parameters you want this envelope to control. The knobs adjust the amount of modulation for the following targets: Parameter Modulation Destination Pitch Tune parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Cutoff Cutoff parameter of the FILTER section (with filter types LP2, HP2, BP2 only) on the FX / Filter page (page 3).
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 7.2.6 Page 6: Velocity / Modwheel 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. Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2).
Working with Plug-ins Using Native Instruments and External Plug-ins Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Cutoff Cutoff parameter of the FILTER section (with filter types LP2, HP2, BP2 only) on the FX / Filter page (page 3). LFO Depth Use this knob to adjust how much the Modulation Wheel affects the depth of the LFO modulation (for all targets) defined on the LFO page (page 5).
Working with Plug-ins Using Native Instruments and External Plug-ins Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu.
Working with Plug-ins Using Native Instruments and External Plug-ins The little diagonal arrow next to the Parameter pages’ tabs. ► To open or close the floating window of a Native Instruments or External Plug-in, select this Plug-in and click the little diagonal arrow at the left of the Parameter pages’ tabs (at the top of the Control area). You can also double-click the Plug-in name in the list.
Working with Plug-ins Using Native Instruments and External Plug-ins These views are also available in the Plug-in’s panel in the Plug-in Strip (Mix view in the software). For more information, please refer to section ↑13.4.4, Custom Panels for Native Instruments 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: 7.3.
Working with Plug-ins Using Native Instruments and External Plug-ins An auto-mapped Parameter page of the Massive Plug-in in the software. Furthermore, for Native Instruments Plug-ins these Parameter pages group the Plug-in parameters in an intelligent way that fits the particular workflows of each Plug-in.
Working with Plug-ins Using Native Instruments and External Plug-ins 2. Click the down-pointing arrow in the bottom left corner of the Control area to reveal the Assignment area underneath: 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 7 3 2 5 6 4 The Control area with the Pages pane active in the Assignment area underneath. (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parameter page. (2) Section Label fields: These fields allow you to define sections of parameters within the displayed page.
Working with Plug-ins Using Native Instruments and External Plug-ins focused starting with the knob selected for editing — indicated by the Focus frame (4). The next parameter you touch in the plug-in’s user interface (see section ↑7.3.1, Opening/Closing Plug-in Windows) will be assigned to the focused knob. Once a knob is assigned, the next knob to the right will become the focal point, and so on until the last knob is assigned. Once complete, Learn mode is automatically deactivated.
Working with Plug-ins Using Native Instruments and External Plug-ins Menu Item Description Keyboard Shortcuts Rename Rename the Parameter. Ctrl + R / Cmd + R Learn Activates the Learn Mode. Reset Reset the Parameter. Cut Cut the Parameter to paste it in another position. Ctrl + X / Cmd + X Copy Copy the Parameter. Ctrl + C / Cmd + C Paste Paste a cut or copied Macro to a new position.
Working with Plug-ins Using Native Instruments and External Plug-ins Menu Item Description Delete Deletes current Page with all assignments. Clear All Clears all the assignments, and deletes all of the Pages. 7.3.4 Keyboard Shortcuts Using VST/AU Plug-in Presets For some of your Native Instruments or third-party VST/AU plug-ins, you might already have a set of factory or user presets (or patches, programs, etc.) that you like to use.
Working with Plug-ins Using Native Instruments and External Plug-ins Accessing Other VST/AU Presets To access user presets of your Native Instruments instruments/effects as well as both factory and user presets of your third-party VST/AU plug-ins, you first need to load the corresponding Native Instruments or External Plug-in into a Plug-in slot. 1. Load the desired Native Instruments or External Plug-in into a Plug-in slot (see section ↑7.1.3, Loading, Removing, and Replacing a Plug-in). 2.
Working with Plug-ins Using Native Instruments and External Plug-ins Some VST/AU plug-ins can run both as instrument and effect plug-ins. When loading a preset for such a plug-in, check that the preset can be effectively loaded in the current Plug-in slot — in particular, take care to load presets for instruments in the first Plug-in slot of Sounds only! To avoid any mistake, one solution is to name your VST/AU presets explicitly (e.g., by adding a suffix “[FX]” to the effect presets).
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The Plug-in’s additional outputs are made available as audio sources for other Sounds of the same Group (they appear in the Source menu in the Audio page of the Input properties for these Sounds). This can be used to build advanced routings in MASCHINE. For more information on configuring audio inputs for Sounds, please refer to section ↑12.1.1, Sending External Audio to Sounds.
Using the Audio Plug-in 8 Using the Audio Plug-in The Audio Plug-in can playback Samples (drums, percussion, basslines, guitar riffs, etc.) in sync with the tempo of your Project. It has two modes: Loop mode and Gate mode. ▪ Loop mode is the default setting where the loaded loop will play continuously whenever there is an active Pattern in the Group. You can see the waveform of the Sample in the Pattern Editor to understand how it aligns with the Pattern.
Using the Audio Plug-in Once an Audio Plug-in is loaded it becomes visible in both the MASCHINE software and on the controller. MASCHINE Audio Plug-in Here is an overview of the Audio Plug-in parameters: Element Description PLAYBACK Section Mode Select the mode of playback: Loop or Gate. Loop: The default mode for playback, in this mode the Sample is heard with the Pattern (as with any regular MIDI event) without the need to trigger it.
Using the Audio Plug-in Element Description Tune Transpose the tune (range: -36 – +36 semitones) of the Audio Plugin. You can use this knob to set the playback pitch of the loop to 'C', and then the loop's pitch will match the pitch of Notes programmed into the Pattern. To increase the tuning of the Sample in semitones, turn the Tune knob clockwise by clicking and dragging upwards. To decrease the tuning of the Sample in semitones, turn the Tune knob counterclockwise by clicking and dragging downwards.
Using the Audio Plug-in Element Description Stretch This playback engine provides complete independence between tempo and pitch. With this engine, you can change the tempo of a loop without changing its pitch, you can change its pitch without changing its tempo, or you can change both the tempo and pitch simultaneously. This mode even allows you to automate pitch changes by entering Events into the Pattern Editor while using Gate mode.
Using the Audio Plug-in Loading a Loop into the Audio Plug-in 8.1 Loading a Loop into the Audio Plug-in You can use the Sampler Plug-in to record sound directly from a microphone, or from an electric instrument (such as an electric guitar) connected to your soundcard, to create your own loops. Alternatively, you can quickly audition loops within the MASCHINE Library by using the Loops tag in the Browser to find one you want. To learn how to filter for loops using the Browser, refer to the section ↑4.2.
Using the Audio Plug-in Editing Audio in the Audio Plug-in By default the Audio Plug-in will playback in Loop mode, meaning the Sample will be repeated for the duration of the Pattern regardless of the length of the Sample. If you want to chop the loop and pitch it, switch to Gate mode. For more information on Gate mode, refer the following section ↑8.3, Using Loop Mode.
Using the Audio Plug-in Using Loop Mode ▪ The Edit page allows you to apply destructive edits to existing audio: ↑17.3, Editing a Sample. The destructive audio editing features here are the same as those found in the Sample Editor, for more information on using the destructive audio editing features, refer to ↑17.3, Editing a Sample. 8.3 Using Loop Mode Loop mode is the default mode for the Audio Plug-in and is used to playback an audio file in time with your Project.
Using the Audio Plug-in Using Loop Mode The Audio Plug-in with a bass recording in Loop mode. Enabling and Disabling Audio per Pattern When using Loop mode with the Audio plug-in, it is possible to enable and disable audio in the current Pattern in the Pattern Editor. By default, when audio is recorded using the Audio plugin, or if it is tagged as a ‘Loop’ and loaded directly from the Browser, it will be enabled in the Pattern and play back when you press Play.
Using the Audio Plug-in Using Gate Mode 8.4 Using Gate Mode Gate mode is used to chop and pitch selected parts of your Sample by applying MIDI note events in the Keyboard view of the Pattern Editor or by recording them using your controller. Each event is a gate for the Sample; the length determines the duration of playback, and placement on the scale determines the pitch. By chopping and pitching the loop you can create melodies or even use it for effect on drums.
Using the Audio Plug-in Using Gate Mode The process of using Gate mode is as follows; load a loop onto a Sound, select Gate mode from the parameters of the Audio Plug-in and then add MIDI events in the Pattern in the regions where you want to chop and pitch your Sample, or press play on your controller and use the pads to pitch the Sample. For more information on recording and editing events, refer to chapter ↑11, Working with Patterns.
Using the Drumsynths 9 Using the Drumsynths Drumsynths are a powerful set of monophonic Internal Instrument Plug-ins (i.e. Instrument Plug-ins included with MASCHINE) that allow you to generate individual, fine-tuned drum sounds for your music productions. Like any other Instrument Plug-in, you can load them only in the first Plug-in slot of Sounds.
Using the Drumsynths Drumsynths – General Handling 9.1 Drumsynths – General Handling This section describes the general use and features of the Drumsynths. Managing Drumsynths Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drumsynths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer to section ↑7.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same parameter organization in the Control area. ▪ Their parameters are grouped into the same three Parameter pages: ◦ The Main page groups the most important parameters for each drum type. Here you can select the engine to be used, the tuning, the decay, etc. ◦ The Advanced page provides access to more complex and finer adjustments to the drum sounds.
Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same global layout in the Plug-in Strip. ▪ In the top part of the panel you can adjust the Tune parameter, select the desired engine, adjust the velocity response, and adjust the Decay parameter (or the Filter parameter for the Shaker engine of the Percussion). ▪ In the bottom part of the panel you find the other parameters adjusting the sound of the selected engine.
Using the Drumsynths Drumsynths – General Handling 9.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily. The ranges of some shared parameters are different across engines.
Using the Drumsynths The Kicks For all engines, the Tune parameter lets you define which pitch will be played when hitting the pad of that Sound (with pads in Pad Mode) or playing the middle C (MIDI note 60) base note. In the MASCHINE convention the MIDI note 60 is noted C3. The engines have different pitch ranges: ▪ Most engines have limited pitch ranges: For example, in the Snare, the Chrome engine can play pitches from MIDI note 60 to 84, while the Iron engine can play pitches from MIDI note 46 to 70.
Using the Drumsynths The Kicks The Kick panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Kick provides following engines: ▪ Sub (default): ↑9.2.1, Kick – Sub. ▪ Tronic: ↑9.2.2, Kick – Tronic. ▪ Dusty: ↑9.2.3, Kick – Dusty. ▪ Rasper: ↑9.2.5, Kick – Rasper. ▪ Snappy: ↑9.2.6, Kick – Snappy.
Using the Drumsynths The Kicks ▪ Bold: ↑9.2.7, Kick – Bold. ▪ Maple: ↑9.2.8, Kick – Maple. ▪ Push: ↑9.2.9, Kick – Push. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.2.1 Kick – Sub The Sub engine is the default engine of the Kick.
Using the Drumsynths The Kicks Element Description Bend Adjusts the amplitude of the pitch envelope applied throughout the sound duration (punch), measured as a percentage. Available values range from 0.0 to 100.0 % (default: 6,8 %). At zero, the sound stays at its original pitch during its entire decaying phase. As the Bend value is increased, an increasing amount of pitch envelope is applied.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Kicks Element Description Bias Adjusts the timbre of the distortion, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At zero, the distortion is symmetrical and introduces mostly odd harmonics. As the Bias value is increased, the distortion becomes more asymmetric and more even harmonics are introduced, resulting in a different tonality, especially at more subtle Gain settings.
Using the Drumsynths The Kicks 9.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Kicks Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.2.4 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to section 10.2 “The Kicks” in the MASCHINE 2.0 Manual. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.
Using the Drumsynths The Kicks Element Description Grind Adjusts the grittiness of the “aero” component of the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 45.0%). Low values produce a boomy reverberation. High values result in a crushed, digital “air” squashed into the drum sound. Note that this parameter will only have an effect if Amount is set to a non-zero value (see below).
Using the Drumsynths The Kicks 9.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.
Using the Drumsynths The Kicks Element Description Decay Adjusts the duration of the crispness effect, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 34.0 %). Amount Adjusts the amount of crispness, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this. Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑9.2, The Kicks.
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Punch Simultaneously adjusts the amplitude and decay time of the noise in the attack.
Using the Drumsynths The Kicks 9.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Using the Drumsynths The Kicks Element Description Size Adjusts the size of the room, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Amount Adjusts the amount of room effect applied to the drum sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Kick Plug-in. If you change this setting, please refer to ↑9.2, The Kicks.
Using the Drumsynths The Snares Element Description SCALE Section Velocity 9.3 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares The Snare panel in the Plug-in Strip. As with every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Snare provides following engines: ▪ Volt (default): ↑9.3.1, Snare – Volt ▪ Bit: ↑9.3.2, Snare – Bit ▪ Pow: ↑9.3.3, Snare – Pow ▪ Sharp: ↑9.3.4, Snare – Sharp ▪ Airy: ↑9.3.
Using the Drumsynths The Snares ▪ Vintage: ↑9.3.6, Snare – Vintage ▪ Chrome: ↑9.3.7, Snare – Chrome ▪ Iron: ↑9.3.8, Snare – Iron ▪ Clap: ↑9.3.9, Snare – Clap For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.3.1 Snare – Volt The Volt engine is the default engine of the Snare. The Volt snare is an electronic snare based on a family of analog classics.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Osc Mode Selects the oscillator mode: If you select Tonal (default), the engine uses two oscillators running in parallel, the higher of which is extra sensitive to velocity for increased expressivity.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Gate When enabled, the decay of the drum is choked by the end of the MIDI note. When disabled (default), the drum plays as a one-shot sound, i.e. until the end of its tail, no matter when the note is released. Grit Adjusts the intensity of the bitcrushing, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 30 %). NOISE Section Color Adjusts the tone of the digital noise, measured as a percentage.
Using the Drumsynths The Snares 9.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Drumsynths The Snares Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %. Advanced Page The Advanced page contains parameters controlling the wires’ sound of the drum.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
Using the Drumsynths The Snares Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, but also the “spread” between the individual claps, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Room Adjusts the balance between the dry sound — the claps themselves — and the synthesized room sound, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). At high values, extra “air” is added.
Using the Drumsynths The Snares 9.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mixes containing heavy bass. The adjustment of the wires spectrum provides a great range of snares. It also works very well with the Rasper Kick. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.
Using the Drumsynths The Snares Element Description SPECTRA Section Mode Selects from two different noise types that simulate the wires of the drum. Available modes are A (default) and B. Tune Provides an independent tuning of the snare noise. It relates to the tension of the snare wires on a real snare drum. Available values range from 0.0 to 100.0% (default: 50.0%). Decay Adjusts the length of the sound of the snare wires, independently from the main Decay parameter on the Main page.
Using the Drumsynths The Hi-hats 9.4 The Hi-hats The Hi-hat Drumsynth can generate a variety of hi-hat sounds. The Hi-hat in the Control area (Main page depicted). The Hi-hat panel in the Plug-in Strip.
Using the Drumsynths The Hi-hats As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Hi-hat provides following engines: ▪ Silver (default): ↑9.4.1, Hi-hat – Silver. ▪ Circuit: ↑9.4.2, Hi-hat – Circuit. ▪ Memory: ↑9.4.3, Hi-hat – Memory. In addition, we mention how to use Choke groups with Hi-hat Plug-ins to emulate a closed vs. open hi-hat set up: ↑9.4.
Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage. A short decay produces a closed hat; a long decay gives an open hihat or cymbal. Available values range from 0.0 to 100.0 % (default: 65.0 %).
Using the Drumsynths The Hi-hats Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.4.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑9.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound, measured as a percentage.
Using the Drumsynths The Hi-hats Element Description Seed Selects a random sequence to control the waveform produced by the oscillator. Each of the 31 seed values available produces a different set of random pitches and harmonics. Dissonance Affects the randomization of the oscillator, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 25.0 %). Higher values introduce more randomization, resulting in a more noisy sound.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this. Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑9.4, The Hi-hats.
Using the Drumsynths The Hi-hats Element Description Strike Adjusts the attack of the cymbal, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 75.0 %). Distress Introduces even more lo-fi grit, crushing and distortion. Available values range from 0.0 % (default) to 100.0 %. Advanced Page For this engine the Advanced page does not contain any parameters. Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑13.4, The Plug-in Strip. Main Page Element Description MAIN Section Engine Selects the engine used in the Hybrid plug-in. For more information on the available engines, please refer to section ↑9.4, The Hi-hats.
Using the Drumsynths The Hi-hats Advanced Page Element Description HYBRID Section Bend Adjusts the amount of a pitch envelope for sound design purposes. It is a bipolar control ranging from -100.0 to 100.0% (default: 0.0%) Rattle Adjusts the amount of sizzling from the hi-hat. It is more noticeable with long decays. Available values range from 0.0 to 100.0% (default: 50.0%). Modulation Page Like with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity.
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section Using Choke Groups where Choke groups are explained in detail. With a single Hi-hat Plug-in, you could also recreate an open-closed hi-hat behavior by disabling Gate and modulating the Decay in your Pattern.
Using the Drumsynths The Toms The Tom panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections. The Tom provides following engines: ▪ Tronic (default): ↑9.5.1, Tom – Tronic. ▪ Fractal: ↑9.5.2, Tom – Fractal. ▪ Floor: ↑9.5.3, Tom – Floor.
Using the Drumsynths The Toms For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator. The parameters described below are presented as they appear in the Control area (Arrange view).
Using the Drumsynths The Toms Element Description Bend Adjusts the pitch sweep of the sound, measured as a percentage. Available values range from -100.0 % to 100.0 % (default: 0.0 %). At zero the sound stays at its original pitch during its entire decaying phase. At higher values, the pitch bends upwards. At lower values, the pitch bends downwards. Impact Adjusts the amount of attack, measured as a percentage. Available values range from 0.0 % (soft attack) to 100.0 % (maximum attack).
Using the Drumsynths The Toms Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity 9.5.2 Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑9.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 48.00 to 72.00. The default value is 48.00. For more details see↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Using the Drumsynths The Toms Element Description Color Adjusts a simple filter which affects the brightness of the sound. Available values range from 0.0 to 100.0 % (default: 50.0 %). Glide The tuning of the Fractal tom is locked for each note; in other words the change in tuning is applied only when a new note is received. When the Glide parameter is set higher than zero, the pitch glides smoothly to the new tuning.
Using the Drumsynths The Toms Element Description Transpose Adjusts the pitch transposition of the feedback oscillator bank only, measured in semitones and cents. This is useful for tuning it to the tone oscillator. Available values range from -12.00 to 12.00 semitones (default: 0.00). Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank, measured as a percentage. Available values range from 0.0 to 100.0 % (default).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0 % (default). Impact Adjusts how hard the drum is hit, measured as a percentage. Available values range from 0.0 % (softest) to 100.0 % (hardest).
Using the Drumsynths The Toms Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From the mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend. Available values range from 0.0 to 100.0% (default). Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 80.0%). Advanced Page For this engine the Advanced page does not contain any parameters.
Using the Drumsynths The Percussions The Percussion in the Control area (Main page depicted). The Percussion panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Percussions ▪ Fractal (default): ↑9.6.1, Percussion – Fractal. ▪ Kettle: ↑9.6.2, Percussion – Kettle. ▪ Shaker: ↑9.6.3, Percussion – Shaker. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.6.1 Percussion – Fractal The Fractal engine is the default engine of the Percussion.
Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑9.5.1, Tom – Tronic). This allows you to create arpeggiated patterns by adjusting the Tune parameter while a sequence of notes is playing.
Using the Drumsynths The Percussions Element Description HARMONICS Section KTr. Mode (Key Tracking Mode) Selects from two key tracking modes: Harmonic (default) and Dissonant. In Harmonic mode all oscillators track the Tune parameter (on the Main page, see above) and your keyboard evenly. Therefore, the drum stays in tune with itself as the Tune parameter is adjusted, and can be played chromatically across a keyboard or the pads.
Using the Drumsynths The Percussions Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Velocity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads).
Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes. Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %).
Using the Drumsynths The Percussions Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0 % to 100.0 % (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more and more sensitive to the velocities at which you hit the keys/ pads.
Using the Drumsynths The Percussions Element Description Filter Adjusts the bandwidth of the filter applied to the noise source, measured as a percentage. Higher settings result in a wider filter. Lower settings result in a narrower filter, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 70.0 %). Grain Adjusts the timbre of the noise source, measured as a percentage. Higher settings emulate the grainy sound of a real shaker. Available values range from 0.0 to 100.
Using the Drumsynths The Percussions Element Description Accent (Performer mode only) Controls the amount of emphasis on certain notes within the shaker pattern, measured as a percentage. At low values, the groove is static and the notes rather quiet, as if the shaker were being shaken very gently and uniformly. As the parameter is increased, key notes in the pattern are emphasized, creating a classic shaker groove.
Using the Drumsynths The Percussions Element Description Sync The Sync parameter has two options: Lock and Retrig. In Lock mode, the shaker pattern is synced to the song position; that is, it is always in time regardless of when a note is pressed. In Retrig mode, the shaker pattern (including accents) is retriggered on every note on, without quantizing to the nearest beat. In both cases, the tempo of the pattern remains correct for the song. Rate Sets the note division of the shaker pattern.
Using the Drumsynths The Cymbals Element Description Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher values will result in a pattern with more swing. Note that Swing alone will result in quite a mechanical feel — for a more human feel it is recommended to add some Twist as well (see below). Available values range from 0.0 to 100.0% (default: 0.0%). Twist The Twist parameter “skews” the groove of the shaker pattern.
Using the Drumsynths The Cymbals The Crash engine selected for the Cymbal in the Control area (Main page depicted). The Crash engine selected on the Cymbal panel in the Plug-in Strip. As in every Drumsynth, the engine can be selected via the Engine selector on the Main page. Each engine has a different character and set of parameters, as detailed in the following sections.
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑9.7.1, Cymbal – Crash. ▪ Ride: ↑9.7.2, Cymbal – Ride. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑9.1, Drumsynths – General Handling. 9.7.1 Cymbal – Crash The Crash engine creates a wide range of cymbals: from a typical 909-like crash to more acoustic sounding timbres.
Using the Drumsynths The Cymbals Element Description Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%). COLOR Section Density Adjusts the more complexity to the sound, measured as a percentage. Available values range from 0.0 to 100.0% (default: 100.
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Drumsynths The Cymbals Element Description Impact Adjusts the amount of click or initial attack, measured as a percentage. Available values range from 0.0 to 100.0% (default: 70.0%). Width Adjusts the perceived stereo image, measured as a percentage. At zero the sound is mono, at 100.0% the sound is a wide stereo image, replicating the effect of recording with overhead stereo microphones. Available values range from 0.0 to 100.0% (default: 50.0%).
Using the Drumsynths The Cymbals Element Description SCALE Section Velocity Adjusts the velocity response of the drum. Available values range from -100.0% to 100.0% (default value). At zero (mid course), the drum is played at full velocity, no matter how hard you hit the keys (or pads). From that mid position, by turning the knob to the right you increase the positive velocity response and make the drum more sensitive to the velocity at which you hit the keys/pads.
Using the Bass Synth 10 Using the Bass Synth Bass Synth is an internal fun and easy to use monophonic synthesizer module that allows you to quickly create expressive basslines. Like any other Instrument Plug-in, load it into the first Plug-in slot of a Sound to gain full control over its parameters in the Control Panel or direct from your hardware controller. Create rich bass tones and program acid lines with ease.
Using the Bass Synth Bass Synth – General Handling 10.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste a Bass Synth, as well as how to adjust the Bass Synth parameters, and load/save presets, please refer to section ↑7.
Using the Bass Synth Bass Synth – General Handling ◦ The Main page groups the most important parameters. Here you can adjust the Shape of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation (Mod. Amt.) and envelope Decay amounts, the Drive amount and the Glide Time. ◦ The Advanced page provides access to the Glide on/off parameter.
Using the Bass Synth Bass Synth – General Handling 10.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4, The Plug-in Strip for more information on this.
Using the Bass Synth Bass Synth – General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% – 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards. Decay Adjusts the rate at which the sound fades to silence (range: 0.0% – 100%). To increase the decay amount, turn the Decay knob clockwise by clicking and dragging upwards.
Working with Patterns Pattern Basics 11 Working with Patterns Creating a Pattern is where the fun starts, because the sequencer really is the core of MASCHINE. Both your controller and the software provide you with many powerful tools to create and edit your own beats. This chapter is organized as follows: ▪ General points on Patterns and the Pattern Editor: ↑11.1, Pattern Basics. ▪ How to record Patterns in real time from your controller: ↑11.2, Recording Patterns in Real Time.
Working with Patterns Pattern Basics 11.1.1 Pattern Editor Overview The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software. This overview of the Pattern Editor introduces you its main parts and control elements. 1 5 8 6 9 10 2 3 7 4 11 15 14 13 12 The Pattern Editor (Group view depicted). (1) Group View button: Click this button to switch to Group view. See section ↑11.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics (5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view. The Pad view is an alternate representation of your Sound slots that focuses on the pads of your controller. In Pad view you can adjust how the Sounds should be triggered by your pads. See section ↑6.1.1, The Pad View in the Software. (6) Pattern Manager button: Opens/closes the Pattern Manager.
Working with Patterns Pattern Basics (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modulation and the MIDI/host automation of each parameter. See section ↑11.5, Recording and Editing Modulation and ↑12.2, Using MIDI Control and Host Automation for more information.
Working with Patterns Pattern Basics 2 1 3 The zooming scroll bar at the bottom of the Pattern Editor. Use the horizontal zooming scroll bar as follows: ▪ Click the main part (1) of the scroll bar and hold the mouse button, then: ◦ Drag your mouse horizontally to scroll through the Event area on the time axis (common scroll bar behavior). ◦ Drag your mouse vertically to zoom in or out of the Event area on the time axis.
Working with Patterns Pattern Basics When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch axis. It works in the same way as the horizontal bar described above. For more information on the Group and Keyboard view, see section ↑11.1.5, Group View and Keyboard View.
Working with Patterns Pattern Basics The Follow function is disabled as soon as you manually scroll to another position in the song. 11.1.4 Jumping to Another Playback Position in the Pattern You can use the timeline above the Event area to set the playback to the desired position. For example, this can be useful to check a particular transition between events in your Pattern without waiting for the whole Loop Range to be looped.
Working with Patterns Pattern Basics ▪ If playback is off, the playhead jumps to the closest step before your mouse cursor, according to the current Step Grid settings. If the Step Grid is disabled, the playhead jumps to the exact position you have clicked. For more information on the Step Grid, see section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid.
Working with Patterns Pattern Basics In Group view, the Pattern Editor shows the events for all Sounds in the Group. This view is well suited for rhythmic instruments (e.g., a drum kit), since you can see and edit the events for all Sounds at once, without worrying about the pitch of the events you create or edit.
Working with Patterns Pattern Basics In Keyboard view, the Pattern Editor shows all notes for a particular Sound. If you select another Sound slot in the Sound List on the left, the whole Event area will switch to the notes for that Sound. On the left of the Event area, a vertical piano roll indicates the note corresponding to each row in the Event area. Octaves are indicated by a number on each C key: e.g., the middle C, which is noted C3 in the MASCHINE convention, will read “3.
Working with Patterns Pattern Basics ► To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange view and select the desired setting from the menu (see above for the available settings). → The divisions of the Arrange Grid now have the size you have just selected. The following Arrange Grid resolutions are available: ▪ 1 Bar, 1/2 note, …, 1/16th note: Each of these settings lets you adjust the Pattern Length by the specified increment. ▪ Off: The Arrange Grid is disabled.
Working with Patterns Pattern Basics ► To adjust the Pattern Length, click the Pattern Length: field and drag it up to make the Pattern longer or drag it down to make it shorter. You can also double-click the displayed value, enter a new value with your computer keyboard, and press [Enter] to confirm.
Working with Patterns Pattern Basics 3. Turn the Encoder (LENGTH) to adjust the Pattern Length in relation to the current resolution of the Pattern Grid. Adjusting the Grid In Grid mode you can adjust the various grids used in MASCHINE, including the Arrange Grid resolution. The Arrange Grid changes the size of steps by which Section Lengths and Pattern Lengths can be adjusted. 1. Press SHIFT + FOLLOW (Grid) to enter Grid mode. 2. Press the Arrow buttons to navigate to the Arrange Grid setting. 3.
Working with Patterns Pattern Basics By default the Step Grid is active and the step size is 1/16th. However you may use another step size or disable the Step Grid completely, as described below. 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.
Working with Patterns Pattern Basics Nudging events means shifting them a small amount ahead or behind their current position. See ↑11.4.4, 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 Recording Patterns in Real Time 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 adjust the Step Grid and Nudge Grid resolution using your controller. To adjust the Step Grid resolution: 1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode. 2. Press the Arrow buttons to navigate to the Step setting. 3. Turn the Encoder to select a resolution. To change the Nudge Grid resolution: 1.
Working with Patterns Recording Patterns in Real Time 11.2.1 Recording Your Patterns Live In Control mode your controller provides many tools to live record Patterns for the focused Group. 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 ↑3.6.6, Preferences – Plug-ins Page for more information.
Working with Patterns Recording Patterns in Real Time Replace Mode When recording in Replace mode the events of the selected Sound(s) are replaced by what you play. 1. Select the Sound(s) of which you want to replace events: In Pad Mode you can select multiple Sounds (see section ↑5.1.3, 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.
Working with Patterns Recording Patterns in Real Time → The recording goes on in Overdub mode (see description above). 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 ↑11.4.5, 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.
Working with Patterns Recording Patterns in Real Time 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 ↑3.6.1, Preferences – General Page for more details). ▪ You can select custom sounds for the metronome’s downbeats and upbeats in the Preferences’ Default page (see section ↑3.6.4, Preferences – Default Page for more details).
Working with Patterns Recording Patterns in Real Time Count-in when the Loop Range starts at the beginning of a bar… …and when the Loop Range doesn’t start at the beginning of a bar. You can also use the Count-in to start a recording in Replace mode. Adjusting the Count-in Duration You can choose how long the metronome should be heard before the recording actually starts. In the software this is done via the Count-in Length setting in the General page of the Preferences panel.
Working with Patterns Recording Patterns with the Step Sequencer 11.3 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. 11.3.1 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 ► Press FOLLOW to enable/disable the Follow function. → When Follow is enabled, your pads automatically switch to the next 16 steps as soon as the playback position reaches the end of the portion currently displayed. This Follow function is always synchronized with the Follow function in the software. See ↑11.1.3, Following the Playback Position in the Pattern for more information.
Working with Patterns Recording Patterns with the Step Sequencer These parameters affect only your next hits on the pads: They don’t modify the velocity of existing events. 11.3.2 Editing Events in Step Mode In Step mode you can quickly adjust the parameters of events on particular steps. Quick Edit Shortcuts for the Selected Steps You can quickly adjust the velocity, position, and pitch of any events via the Quick Edit shortcuts: 1. Press and hold the pad(s) of the step(s) you want to edit. 2.
Working with Patterns Editing Events 11.4 Editing Events Many creation and editing commands on events/notes are available directly via mouse actions in the Event area of the Pattern Editor. They will be applied according to the selected Step Grid resolution (see ↑11.1.7, Adjusting the Step Grid and the Nudge Grid). In Group view, the Sound in focus will change according to the row you click in. Selected notes are highlighted. Events vs.
Working with Patterns Editing Events Listed here are all available mouse actions from the Mouse Edit modes. For more details on specific actions, please refer to the other sections in ↑11.4, Editing Events. Mouse in Select Mode The following table is an overview of available mouse actions in Select mode (works in both Group view and Keyboard view, see ↑11.1.5, Group View and Keyboard View). Action Function Creating Notes (see ↑11.4.
Working with Patterns Editing Events Action Function Editing Selected Notes* (see ↑11.4.4, Editing Selected Events/Notes for details) Drag note horizontally Moves selected notes in time according to the Step Grid. [Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step Grid quantization). (macOS: [Cmd] + drag note) [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid.
Working with Patterns Editing Events ► Click a note and move the mouse cursor with the button pressed to erase all notes under the mouse cursor. Only Notes for the selected Sound are erased. 11.4.2 Creating Events/Notes In the software you can create new events anywhere in the Event area using your mouse. The procedure depends on the active Mouse Edit mode (Select or Pencil). Each event is created at the beginning of the step in which your mouse cursor is located, according to the Step Grid settings.
Working with Patterns Editing Events Your controller offers numerous ways to create events — on your controller this is referred to as “recording Patterns.” For details on this please refer to section ↑11.2, Recording Patterns in Real Time and ↑11.3, Recording Patterns with the Step Sequencer. 11.4.3 Selecting Events/Notes Use Select mode to select events/notes in your Pattern. Select mode is the default mode indicated by the unhighlighted Pencil icon.
Working with Patterns Editing Events → If the Pattern Editor is in Group view this will select all events for all Sounds in the Pattern. If the Pattern Editor is in Keyboard view this will select all events at all pitches for the focused Sound. Selecting Events/Notes on the Controller Using your controller you can select particular events from the selected Pattern. This will allow you to edit them without affecting the other events.
Working with Patterns Editing Events Fully lit pads indicate pitches at which all notes are selected: Press any lit pad to remove all its notes from the selection (the pad turns dim lit). 11.4.4 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.
Working with Patterns Editing Events Action Function [Ctrl] + drag left/right note border Freely moves the start/end of selected notes (overrides the Step Grid quantization), thereby resizing the notes. (macOS: [Cmd] + drag left/right border) Drag note vertically Group view: Moves selected notes to another Sound of the Group. Keyboard view: Transposes selected notes. Double-click note Deletes selected notes. Right-click (macOS: [Ctrl]-click) Deletes selected notes.
Working with Patterns Editing Events ▪ All other notes in the selection are moved or resized by the same amount (regardless of their own quantizing rules). When resizing, if the notes have different lengths the length differences are retained as long as no event becomes shorter than one step. For example, if you have a drum roll, a flam or any custom sequence happening right before a beat, this allows you to move the whole sequence to another beat with a perfect timing while keeping its feel untouched.
Working with Patterns Editing Events ► Press SHIFT + pad 7 (NUDGE <) to nudge the selected events to the left, or SHIFT + pad 8 (NUDGE >) to nudge the selected events to the right. If nothing is selected, all event/ notes in the Pattern will be affected. Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small increments.
Working with Patterns Editing Events Mouse in Pencil Mode ► To delete an event, simply click it. Click and hold an event and move the cursor to quickly delete series of events. The quickest and easiest way to delete events is the following: 1. Press EVENTS. 2. Press ERASE + the desired pad to delete from the Pattern all events for that Sound (if pads are in Pad Mode) or all notes at that pitch for the focused Sound (if pads are in Keyboard mode).
Working with Patterns Editing Events ► While the Pattern is playing, hold ERASE + the desired pad to progressively delete the events for that Sound (if pads are in Pad Mode) or the notes at that pitch for the focused Sound (if pads are in Keyboard mode) as they are reached by the playhead. → As long as you hold the pad, the corresponding events are deleted as the playhead moves on. You can use this to selectively erase notes at a particular place in the Pattern.
Working with Patterns Editing Events → The events will be pasted according to the rules described hereinafter. If no event is selected, all displayed events will be affected: in Keyboard view these are all events of the focused Sound; in Group view these are all events of all Sounds within the Group (see section ↑11.1.5, Group View and Keyboard View for more information on Group view and Keyboard view).
Working with Patterns Editing Events ▪ If you paste the events via the shortcut on your computer keyboard while playback is off: ◦ If you haven’t changed the Sound focus or the playhead position, events are pasted one step after the original events. ◦ If you haven’t changed the Sound focus but changed the playhead position, events are inserted with the first event starting at the playhead position. All following events will retain their position relative to the first event.
Working with Patterns Editing Events 11.4.7 Quantizing Events/Notes Quantization is the process of moving events to the closest steps. You can quantize your notes at any time, no matter how you recorded them. They will be quantized according to the step size (i.e. Step Grid resolution) selected. If you turn the Step Grid off, no quantization will be applied. See section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid above for more information on the Step Grid and the step size.
Working with Patterns Editing Events Quantize and Quantize 50% in the Pattern Editor context menu. To apply full or half quantization using the MASCHINE software: 1. Select the events in the Pattern Editor you want to quantize. If nothing is selected, the whole Pattern will be quantized. 2. To apply full quantization to the selected events, right-click the mouse and select Quantize from the context menu. 3.
Working with Patterns Editing Events To apply full or half quantization: 1. Select the events you wish to quantize. If nothing is selected, the whole Pattern content will be quantized. See ↑11.4.3, Selecting Events/Notes to know how to select events. 2. To apply full quantization to the selected events, press SHIFT + pad 5 (QUANTIZE). 3. To apply only a bit of quantization to keep the groove you created by playing your notes live, press SHIFT + pad 6 (QUANTIZE 50%).
Working with Patterns Editing Events ► Click the Quantize menu and select the desired Input Quantization mode from the three modes available (see their description above). 11.4.9 Doubling a Pattern Your controller provides a useful shortcut to double the length and content of the current Pattern. In the software, you can do this for example by copying all events, putting the Playhead indicator at the end of the Pattern, and pasting the events (the Pattern Length is automatically doubled).
Working with Patterns Recording and Editing Modulation When adding Variation to your Patterns, please be aware Random mode conforms to the selected Scale. To access Variation mode: 1. Press SELECT + Sound (1–16). 2. Press VARIATION to access the Variation controls. 3. Press the Left or Right Arrow to access Humanize or Randomize mode. 4. Turn the Encoder to choose an amount. 5. Press the Encoder to apply the set amount. 11.
Working with Patterns Recording and Editing Modulation Modulation Automation Source of control Internal (e.g., changes recorded via Auto-write) External (e.g.
Working with Patterns Recording and Editing Modulation In order to be modulatable, parameters of Plug-ins and Channel properties have to meet following requirements: ▪ The parameter must be controlled by a knob or a button in the software. Most parameters controlled by selectors (e.g., for selecting an operating mode or a filter type) cannot be modulated — however there are a few exceptions. ▪ The parameter must be at the Group or Sound level. Parameters at the Master level cannot be modulated.
Working with Patterns Recording and Editing Modulation 11.5.2 Recording Modulation If you take a closer look at the knobs in the software Parameter pages of the Control area you will notice they have an outer ring that changes its color to light grey as soon as you hover over it with the cursor. Drag the outer ring of the knobs to record modulation. ► To record modulation for a knob in real time, click its outer ring and then drag it up and down during playback.
Working with Patterns Recording and Editing Modulation You can also create and edit modulation tracks directly in the Control Lane. See section The Record Prepare Mode for more information. To modulate a parameter with the controller: 1. Press PLUG-IN. 2. Navigate to the parameter you want to modulate. To do this, put the focus on the desired Group or Sound (see ↑3.3.
Working with Patterns Recording and Editing Modulation 3. 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. 4. Click the little bar icon left of the Control Lane to display the Modulation pane. → The Modulation pane appears. The Modulation pane showing the modulation track for the Decay parameter (see on the left).
Working with Patterns Recording and Editing Modulation ◦ Left of the modulation track, a vertical scale indicates the value range for that parameter. In the modulation track you can create, edit, and delete modulation points (see below).
Working with Patterns Recording and Editing Modulation Mouse Edit Mode Available Mouse Actions (1) Select mode To create modulation points, double-click in the Control Lane — other points on this step will be replaced. To delete a modulation point, right-click it ([Ctrl]-click it on macOS). To edit an existing modulation point, drag it vertically (you can also drag the horizontal segment following the point instead).
Working with Patterns Recording and Editing Modulation To create a new modulation track: 1. To create a new modulation track for a parameter of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area. 2. To create a new modulation track for a parameter of a Group, click the desired Group in the Group List (left of the Arranger) and click the GROUP tab in the Control area. 3.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE When you load a Plug-in in a channel (Sound or Group) its modulatable parameters will automatically show up in the menu of available parameters when this channel is focused. Resetting a Modulation Track ► To reset the modulation track of a parameter, right-click ([Ctrl]-click on macOS) the desired entry in the Modulator List and select Reset Modulator at the top of the menu.
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE ▪ When playback is on, the content of these tracks is sent in real time as MIDI data via the MIDI output of the Sound (if enabled). Configuring the MIDI output of Sounds is done in the MIDI page of the Sound’s Output properties — see section ↑12.2.5, Sending MIDI from Sounds for more information. ▪ When exporting your Pattern as a MIDI file for use in another environment, MIDI automation tracks will be included in the exported MIDI file.
Working with Patterns Managing Patterns 4. At the end of the list of MIDI controls nearby, click the “+” to add a new MIDI track. A new entry appears at the end of the list reading Not assigned. 5. Right-click ([Ctrl]-click on macOS) this Not assigned entry and select the desired MIDI control from the context menu. 6. Add and modify events in the new MIDI track via same editing tools as for modulation tracks (see ↑11.5.3, Creating and Editing Modulation in the Control Lane).
Working with Patterns Managing Patterns 11.7.1 The Pattern Manager and Pattern Mode In the software, all Pattern management operations are done in the Pattern Manager: ► To open the Pattern Manager, click the Pattern Manager button (a down-pointing arrow) at the left of the name of the selected Pattern. → The Pattern Manager appears underneath. Use the Pattern Manager to manage your Patterns.
Working with Patterns Managing Patterns ▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots containing a Pattern show a colored bar on the left along with the Pattern name. The other slots contain no Pattern. The selected Pattern is highlighted (the Basics - Return Pattern in the picture above). ▪ On the right you can see the various Pattern banks in form of pad grids — a pad grid is a square of 4x4 cells representing the pads of your controller.
Working with Patterns Managing Patterns The selected Pattern is named Basics. Selecting a Pattern: 1. Open the Pattern Manager (see ↑11.7.1, 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. The selected Pattern bank is surrounded by a white border, and the left part of the Pattern Manager displays the Pattern slots in that bank. 3.
Working with Patterns Managing Patterns Selecting a Pattern ► To select a Pattern in the current Pattern bank, press PATTERN + the dim lit pad corresponding to the cell of the desired Pattern on the right display. → Selecting a Pattern has the following consequences: ▪ This Pattern is displayed in the software’s Pattern Editor. You can then modify it both from your controller and in the software. ▪ This Pattern is referenced by a Clip for the selected Group in the current Scene.
Working with Patterns Managing Patterns 11.7.3 Creating Patterns First of all, you don’t need to explicitly create a new empty Pattern before filling it with events: ▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the software or by recording pads on your controller) a new Pattern will be created for it! See section ↑11.4.2, Creating Events/Notes for more information on creating events.
Working with Patterns Managing Patterns → A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑16.3, Using Song View for more on this). 11.7.3.
Working with Patterns Managing Patterns 3. On the right of the Pattern slot, click the little cross icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Delete from the context menu: → The Pattern is deleted. If the Pattern was referenced by Clips in the Arranger, these Clips will be removed as well! Deleting Patterns on Your Controller 1. Press PATTERN to enter Pattern mode. 2.
Working with Patterns Managing Patterns Creating a Pattern Bank If the last Pattern bank contains at least one Pattern (even empty), you can create an additional Pattern bank after that last bank. To do this: 1. Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). 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.
Working with Patterns Managing Patterns 3. Click the little cross to delete that Pattern bank. → The Pattern bank is deleted including all its Patterns, if any. The following banks are shifted up to fill the gap. If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 11.7.6 Naming Patterns You can replace the Patterns’ default names with custom names of your own.
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 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 then 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. 11.7.9 Moving Patterns You can reorder Patterns via drag and drop in the software.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns → The Pattern takes its new place. If you drop the Pattern onto a slot, the current Pattern in that slot is replaced (if any). The Clips that were referencing this Pattern will reference the moved Pattern instead. Of course, all Clips referencing the moved Patterns still reference it after the move. You can also drag a Pattern from the pad grid onto the Pad List, and inversely! 11.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select the Pattern you want to export audio from (see section ↑11.7.2, Selecting Patterns and Pattern Banks). 2. If you want to export multiple Sounds of the Group, switch the Pattern Editor to Group view, mute the Sounds you want to exclude from the exported audio file (see section ↑6.3.1, Mute and Solo), and check that the Group itself is not muted — otherwise the exported audio file will be silent! 3.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 11.8.2 Exporting MIDI from Patterns You can export MIDI files from selected Patterns. This is useful if you want to use or edit them in another application. This function is only available in the software. The MIDI file will be exported according to the Channel and Transpose parameters in the MIDI page of the Output properties of each exported Sound — see section ↑12.2.5, Sending MIDI from Sounds for more on these parameters.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can even drag the MIDI Dragger icon onto another Sound or Group in MASCHINE! In this case the MIDI file will be directly imported into a Pattern of the selected Group according to the rules described in section ↑11.8.3, Importing MIDI to Patterns. Exporting MIDI via the Context Menu You can also render the selected Pattern to a MIDI file on your hard disk using the Export MIDI… entry in the context menu of the Sound or Group: 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns → The MIDI file is exported to the selected location. Sounds which do not contain note events in a Group Pattern are exported as empty MIDI tracks. This way, if you are exporting multiple Patterns and some Sounds in the Group only have notes in some of these Patterns, you will get a consistent assignment of notes to MIDI tracks across all exported Patterns.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the Group in the Group List and select Import MIDI… from the context menu. You can alternatively right-click ([Ctrl]-click on macOS) the Group name in the header above the Sound List and select the same entry. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Group in the Group List left of the Arranger. → The MIDI file will be imported to the selected Pattern of the Group according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ◦ For each Sound, MIDI notes will be imported at the default root note C3 — this ensures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦ The MIDI CC data will be copied to all Sounds for which MIDI notes have been imported.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 3. Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import MIDI… from the context menu. 4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm. → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. Method 2: via drag and drop 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor). → The MIDI file will be imported to the selected Pattern for that Sound according to the import rules described below. If the Pattern Editor is in Keyboard view, you can also drag the MIDI file directly onto the Event area to import it into the focused Sound! Method 3: using the FILES pane of the Browser 1.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 4. Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑4.6, Loading and Importing Files from Your File System to know how to use the FILES pane). 5. Double-click the MIDI file or click it and press [Enter] on your computer keyboard. → The MIDI file will be imported to the selected Pattern for the focused Sound according to the import rules described below.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser. 2. Drag and drop the multiple selection onto the desired Group in the Group List. → New Patterns will be created for that Group. Apart from this, each new Pattern receiving the data from one of the MIDI files. Apart from this, each MIDI file will be imported as a single MIDI file to that Group — see above for a detailed description.
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 2. Drag and drop the multiple selection onto the desired Sound in the Sound List. → New Patterns will be created for that Sound in the Group, each new Pattern receiving the data from one of the MIDI files. Only this Sound will contain notes in these new Patterns. Apart from this, each MIDI file will be imported as a single MIDI file to that Sound — see above for a detailed description.
Audio Routing, Remote Control, and Macro Controls 12 Audio Routing, Remote Control, and Macro Controls This chapter describes a few important topics and features of MASCHINE’s routing and assignment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪ We will explain how MASCHINE’s audio routing works and how to take advantage of its flexibility: ↑12.1, Audio Routing in MASCHINE.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1 Audio Routing in MASCHINE MASCHINE offers a powerful audio routing system that you can finely customize to fit your specific needs. To make it short, by default the various channels of MASCHINE are structured in a simple, hierarchical way: ▪ At the bottom level, each Sound has its own channel. The output of the Sound’s channel is sent to its parent Group.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Mix View or Arrange View? When it comes to adjusting audio and MIDI routings, the Mix view can sometimes be the most efficient way to do: The familiar mixing desk layout allows you to quickly find the parameters you are looking for and adjust the routing on the fly. Hence, in the following sections we describe the procedures in both Arrange view and Mix view.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Input properties is available for Sounds only. MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the features of the Input Module available in previous MASCHINE versions. The Audio page of the Input properties for a Sound in the software. Please refer to section ↑3.3.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE If MASCHINE is running as a plug-in, the external stereo inputs Ext. 1–4 available in the Source selector of the MAIN section will correspond to virtual inputs in your host. This allows you to send mixer channels from your DAW to individual Sounds within MASCHINE, for example. Please refer to your host documentation to know how to route signals to the virtual audio inputs of your MASCHINE plug-in.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group. The Mixer displays the channel strips of all Sounds in the selected Group. 5.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 6. Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above. 12.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller. Controls Description AUDIO Section Dest. Selects where you want to send the main audio output of your channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Pan Defines the pan position of the channel in the stereo field. Audio Mute (Sounds only) If you enable Audio Mute, muting this Sound will not only bypass its events but also mute its audio output, thereby muting any audio tails from notes already played. See section ↑6.3.1, Mute and Solo for more information. If MASCHINE is running as a plug-in, the external stereo outputs Ext.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Pad Mode. In Keyboard mode, the knobs are not visible. Configuring the Main Outputs of Sounds and Groups in Mix View You can also easily configure the outputs of your Sounds and Groups in MASCHINE’s Mixer: 1.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. To select another destination for the channel’s output, click the first area under the level meter, and select the desired destination in the menu. This is equivalent to setting the Dest. parameter described above. 12.1.3 Setting Up Auxiliary Outputs for Sounds and Groups Each Sound or Group of your Project provides two auxiliary outputs that you can route to additional targets.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. Please refer to section ↑3.3.5, 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. Selects where you want to send the Aux 1 or Aux 2 output of your channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the 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 5. In the channel strip of the desired Sound or Group, click the AUX 1 or AUX 2 label (default labels) at the bottom of the strip and select the desired destination in the menu. This is equivalent to setting the Dest. parameter described above. 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.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Besides, all channels currently routed to the Cue bus for pre-listening are mixed together and sent to the Cue output. For more information on how to use the Cue bus, see section ↑13.2.6, Using the Cue Bus. You can choose to which outputs (on your audio interface or in your host) both Master and Cue outputs should be sent, and adjust their respective levels and panoramic positions.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1– 16. By selecting a different output from the one used for the main stereo output, you can effectively pre-listen on this additional output (e.g., on your headphones) any channel(s) currently sent to the Cue bus.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath. In this Master/Cue channel strip, do the following to configure the output of the Master channel: 1. Click Master in the strip’s header to show the controls for the Master channel. 2.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 3. To select another destination for the Master output, click the first area under the level meter and select the desired destination in the menu. This is equivalent to setting the Output parameter in the MAIN section (see above). In this Master/Cue channel strip, do the following to configure the output of the Cue channel: 1. Click the headphone icon in the strip’s header to show the controls for the Cue channel.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 2. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level or Pan parameters in the CUE section, respectively (see above). 3. To select another destination for the Cue output, click the first area under the level meter and select the desired destination in the menu.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external mono or stereo input. The same external signal can be fed into any number of Sounds. For example, this allows you to process any external audio signal using the plug-ins loaded in a Sound, and more generally, integrate external audio signals into the MASCHINE routing and processing system.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: 2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip.
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 4. If the Mixer currently displays the Group channels, in the top row of the Mixer doubleclick the header of the Group containing the Sound you want to configure. If the Mixer currently displays the Sound channels, single-click the header of the desired Group. 5. At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. 6.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2 Using MIDI Control and Host Automation MASCHINE provides you with flexible MIDI remote control and host automation facilities that can be used in many situations.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Outgoing MIDI You can also sending MIDI data from Sounds. For example, when MASCHINE is running as a plug-in in a host environment, this allows you to record your performance on the pads as a MIDI pattern in your host application. This is described in section ↑12.2.5, Sending MIDI from Sounds. 12.2.1 Triggering Sounds via MIDI Notes MASCHINE allows you play your Sound(s) via MIDI (e.g., from a MIDI keyboard).
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ MIDI input settings of a Sound and its parent Group are merged: For example, if you configure a Group to react to incoming notes on MIDI channel 1, but one Sound is setup to react to incoming notes on MIDI channel 2, then this Sound will react to one incoming note on MIDI channel 1 and all incoming notes on channel 2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description MIDI ROUTING Section Key Mode (Pad Mode only) Enables the MIDI note input for the selected Group (disabled by default). Please refer to your host documentation to find out how to route MIDI signals to your MASCHINE plug-in. Key Mode offers the following options: Off: Select this option to disable MIDI note input for the selected Group.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Source (stand-alone and Select the MIDI port on which the Sound or Group will receive MIDI in Manual mode only) notes. Available entries are None (MIDI note input disabled, default setting), All (MIDI notes are received on all enabled input ports), and each enabled MIDI input port.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Some of these parameters also affect MIDI file import: The Channel parameter of a Sound will be used when importing a multi-channel MIDI file to its Group, while the Root Note parameter will be used when importing a single-channel MIDI file to the Group. For more information on MIDI file import please refer to section ↑11.8.3, Importing MIDI to Patterns.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. 4. Above the fader area in the channel strip of the Sound or Group you want to configure, click the bigger field on the right (labeled MIDI IN by default) and select the desired MIDI port in the menu.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 5. Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above. 12.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes. When MASCHINE runs as a Plug-in this MIDI data is sent to the host application.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 4. If necessary, reopen the same submenu and select the MIDI channel the Scene changes should receive MIDI messages from (channel 1 by default). MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from the MIDI source. Corresponding Lock snapshots will not be recalled. 5.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Modulation Automation Source of control Internal (e.g., changes recorded via Auto-write) External (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. In the left part of the Assignment area, click the Automation tab: → The Automation tab lights up and the Automation pane appears on its right. You are now ready to configure MIDI and host automation for the parameters in the current Parameter page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A MIDI CC assignment for the current Parameter page. A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host automation IDs to MASCHINE parameters. Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ Plug-ins: ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button (EQ section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the Cue button in the Audio page. ◦ Group’s Input properties: the Root Note knob in the MIDI page.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 2. On the left of the Assignment area, click the Automation tab to show the Automation pane, then in this pane click the Host tab. 3. Click the Enable label in the Assignment field under any unassigned parameter to automatically assign that parameter to the next free automation ID. → The Assignment field displays the automation ID for that parameter. The parameter is ready to be controlled from your host.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation → The previous automation ID is removed from the Assignment field and the parameter is not available anymore for host automation. For more information on how to automate VST/AU plug-in parameters from your host, please refer to your host documentation. Assigning MIDI Controls to Parameters Assigning a MIDI control to a parameter in MASCHINE is done via an intuitive Learn mode: 1.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 3. Click Learn in the Assignment field of a parameter to enter Learn mode for that parameter. The Assignment field shows a blinking Learning. 4. Move the desired control element (knob, button, etc.) on your MIDI controller. → The Assignment field automatically displays the MIDI message type received (CC number, PC for Program Change, or PW for Pitchbend). The parameter is ready to be controlled via MIDI.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ► Right-click ([Ctrl]-click on macOS) the non-empty Assignment field under a parameter and select Unlearn in the menu to remove the MIDI assignment for that parameter. → The MIDI assignment is removed from the Assignment field and the parameter is not controllable via MIDI anymore. Of course, this procedure also works for Native Instruments and External Plug-ins loaded in MASCHINE. 12.2.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2.5 Sending MIDI from Sounds Your Sounds can output MIDI notes and automation data to the outside world, allowing you to control any MIDI-capable application and/or external MIDI gear from MASCHINE’s sequencer. With its MIDI output enabled, a Sound will send: ▪ MIDI notes corresponding to the notes played by that Sound in the current Pattern. ▪ MIDI notes corresponding to your hits on the pads.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Please refer to section ↑3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Output properties in the software and from your controller. Control Description MIDI Section Dest. Selects the MIDI port on which the Sound will send MIDI data.
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 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 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 12.3 Creating Custom Sets of Parameters with the Macro Controls Macro Controls enable you to control in one same location a selection of parameters coming from different sources.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls A Macro Control of a channel can control any parameter located in the properties or Plug-ins of that channel or of any underlying channel. In other words: ▪ For Sounds: You can assign the Macro Controls of a Sound to any parameters in its properties or Plug-ins.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Assigning Macro Controls from Parameters Assigning a parameter as a Macro from a Channel or Plug-in properties is quick and easy. You can simply right-click ([Ctrl]-click on macOS) a parameter name and select which Macro level you want to assign it to. To assign a Macro Control directly from a parameter: 1.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 2. Click the down-pointing arrow in the bottom left corner of the Control area to reveal the Assignment area underneath: 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 Macro Controls to parameters.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 1 7 2 6 3 5 4 The Control area with Macro Properties displayed and the Pages pane active in the Assignment area underneath. (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parameter page. (2) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new page. By default, pages are labeled “Page 1,” “Page 2,” etc.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls (7) Target selector: Displays and selects the target parameter of the selected Macro Control indicated by the Focus frame (5). This multi-level drop-down widget allows you to quickly navigate through the structure of the channel to the desired parameter. The detailed procedure is explained in the next paragraph.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 2. Upon your selection in the previous menu, the menu takes the name of your selection, and another menu may appear to the right which allows you to refine your search (e.g., by listing all Parameter pages of the selected Plug-in or Channel properties). This continues until a parameter is reached and you select it.
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 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.
Controlling Your Mix Mix View Basics 13 Controlling Your Mix The default view of the MASCHINE software is the Arrange view, which contains the Arranger at the top, the Control area in the middle, and the Pattern Editor / Sampler Editor at the bottom.
Controlling Your Mix Mix View Basics The Mix View button. ► Click the Mix View button at the top left of the Arranger to switch between the Arrange views and the Mix view. 13.1.2 Mix View Elements When you switch the MASCHINE software to Mix view, the Arranger, the Control area, and the Pattern Editor disappear and are replaced with the following three elements: 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.
Controlling Your Mix The Mixer (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. At the far right you can control the settings for the parent channel — the Group channel if the Mixer displays Sound channels, or the Master/Cue channel if the Mixer displays Group channels. See section ↑13.
Controlling Your Mix The Mixer The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips. The particular channel strips displayed along with their precise layout depend on the following: ▪ Which of the Sound or Group level is selected for displaying: ↑13.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑13.2.2, Adjusting the Mixer Layout.
Controlling Your Mix The Mixer 13.2.1 Displaying Groups vs. Displaying Sounds The Mixer provides two display modes, allowing you to focus on the current context: ▪ Group level: The Mixer shows channel strips for all Groups of your Project. ▪ Sound level: The Mixer shows channel strips for all Sound slots in the focused Group. Both display modes are described in the following paragraphs.
Controlling Your Mix The Mixer Mixer Displaying the Sound Level The Mixer can alternatively display the Sounds slots of a particular Group: 3 4 2 1 In this mode the desk’s input strips (1) represent all Sounds of the focused Group, while the output strip at the far right (2) represents that focused Group. At the top of the Mixer you see two rows: ▪ The first row (3) contains the headers of all your Groups and of the Master/Cue channel.
Controlling Your Mix The Mixer Make sure that you double-click in the header background and not on the number or letter+number in the top left corner of the header — instead of switching the Mixer between both views this would mute/unmute the Group channel in question! 13.2.2 Adjusting the Mixer Layout No matter which of the Group or Sound level is currently displayed in the Mixer, you can adjust its layout as described below in order to focus on your current task.
Controlling Your Mix The Mixer Showing/Hiding Particular Sections of the Strips Both when displaying all Group channels or all Sound channels of a particular Group, the Mixer allows you to select which sections you want to show or hide in the strips currently displayed. This is done via the three buttons on the left of the Mixer, under the arrow expanding the Mixer: Choosing what to display in the channels.
Controlling Your Mix The Mixer ▪ When the Mixer displays the Sound strips of a Group, when you click another Group header in the top row the Mixer will stay at the Sound level and directly display to the Sound strips of this other Group. ▪ You can select more than one channel strip among the strips displayed. The focused strip is always selected. The multiple selection follows the same rules as in Arrange view (see section ↑5.1.3, Selecting Multiple Sounds or Groups).
Controlling Your Mix The Mixer The channel’s context menu provides the exact same entries as in Arrange view. Following management commands are available in the Mixer: Management Command Action Renaming channels Double-click the channel name in the header, type the desired name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also open the channel’s context menu and select Rename. See section ↑5.2.3, Renaming Sound Slots and ↑5.3.3, Renaming Groups.
Controlling Your Mix The Mixer 13.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the various Plug-ins loaded in the channel, then goes through the pan and level controls, and finally arrives to the output routing settings at the bottom.
Controlling Your Mix The Mixer Available Settings in Sound/Group Channel Strips We list here all the elements available in a full channel strip. For each element we indicate the basic operation and the corresponding parameter in Arrange view. If some of the settings are not visible, check that the Mixer is not minimized and that the relevant button is enabled at the left of the Mixer — see section ↑13.2.2, Adjusting the Mixer Layout for more information.
Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ↑13.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ↑13.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also use the Rename entry in the channel’s context menu.
Controlling Your Mix The Mixer This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange view. For all details, see section ↑7.1, Plug-in Overview. (5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue state. Following actions are available: ▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level parameter in the Audio page of the channel’s Output properties (see ↑12.1.
Controlling Your Mix The Mixer (8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if the IO button is enabled on the left of the Mixer. Click the MIDI OUT label to select a MIDI output port, then select a channel via the additional menu on the right. These controls are equivalent to the Dest. and Channel selectors in the MIDI page of the Sound’s Output properties (see ↑12.2.5, Sending MIDI from Sounds). Parameter modulation is not indicated in the Mixer.
Controlling Your Mix The Mixer ▪ Metronome (see section ↑11.2.2, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ↑17.2.2, Selecting the Source and the Recording Mode) or slicing Samples (see section ↑17.4, Slicing a Sample). Sending Sound and Group Channels to the Cue Bus ► In any channel strip, click the little headphones button to send this channel to the Cue bus. → The headphones button lights on.
Controlling Your Mix The Plug-in Chain 2. Click the headphone icon in the Master header. → The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue channel’s level and panoramic position, along with the destination you want to send the Cue channel to. As destination, choose for example another output pair into which you will have plugged your headphones. These settings are described in section ↑12.1.4, Configuring the Master and Cue Outputs of MASCHINE. 13.
Controlling Your Mix The Plug-in Strip ▪ Click the little square on the left of a Plug-in name to bypass this Plug-in slot (bypassed slots are grayed out). Click the little square again to unmute the Plug-in slot and insert the Plug-in back into the processing chain. See section ↑7.1.5, Bypassing Plug-in Slots for more information.
Controlling Your Mix The Plug-in Strip ▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑13.4.1, The Plug-in Header. ▪ Internal Effects and Drumsynths have their own custom panels: ↑13.4.2, Panels for Drumsynths and Internal Effects. ▪ The Sampler Plug-in has a special, extended panel: ↑13.4.3, Panel for the Sampler. ▪ Native Instruments Plug-ins provide dedicated panels inspired from the user interface of each particular Native Instruments product: ↑13.4.
Controlling Your Mix The Plug-in Strip Use the horizontal scroll bar to display the other Plug-in panels. If the MASCHINE window is not high enough for any Plug-in panel to be displayed entirely, a vertical scroll bar appears on the right of the panel to display the hidden part: Use the vertical scroll bar to display the rest of the Plug-in. 13.4.
Controlling Your Mix The Plug-in Strip 2 3 4 1 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑13.4.4, Custom Panels for Native Instruments Plug-ins for more on this.
Controlling Your Mix The Plug-in Strip 13.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top. This Header contains the name of the current preset and the Quick Browse icon — see section ↑13.4.
Controlling Your Mix The Plug-in Strip For an exhaustive description of the parameters available in each panel, please refer to chapter ↑9, Using the Drumsynths for Drumsynths and chapter ↑15, Effect Reference for Internal Effects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the value of modulated parameters might change even if their control element doesn’t move in the panel. See section ↑11.
Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane 1 2 3 7 4 6 5 The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides the same features as the waveform found in the Sample view of the Zone page in the Sample Editor: Start and End markers, zooming, etc. For more details, see section ↑17, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parameters from the Pitch/Envelope page in the Control area. For more details, see section ↑7.2.2, Page 2: Pitch / Envelope. (5) SATURATION, LO FI, and FILTER sections: Allows you to adjust the parameters from the FX/ Filter page in the Control area. For more details, see section ↑7.2.3, Page 3: FX / Filter.
Controlling Your Mix The Plug-in Strip The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in. (2) Sample Map: Allows you to adjust the key and velocity ranges of your Zones. This the same as the Map view available in the Zone page of the Sample Editor. For more details, see section ↑17, Sampling and Sample Mapping.
Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of ABSYNTH 5: MASCHINE MIKRO - Manual - 561
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 MIKRO - Manual - 562
Controlling Your Mix The Plug-in Strip ▪ GUITAR RIG’s Default view shows a mini Rack with a reduced version of the Global Header at the top: As with all other Plug-ins, the panel for Native Instruments Plug-ins shows the Plug-in Header at the top containing a button for opening the Plug-in in a floating window as well as the name of the current preset and the Quick Browse icon — see section ↑13.4.1, The Plug-in Header above for more details.
Controlling Your Mix The Plug-in Strip Click the little “+” in the Header to switch between Default and Additional view. macOS users: The VST plug-in of a Native Instruments product must be installed for this product’s Default view (and Additional view, if any) to appear in the Plug-in Strip. If you normally use the AU version of this Native Instruments product, please check that its VST version is also installed on your computer to ensure the perfect integration of this plug-in into MASCHINE.
Controlling Your Mix The Plug-in Strip When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin Plug-in placeholder (see below). Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu. MASCHINE will always show the open floating windows of the focused channel (Sound, Group or Master). In this channel you can have as many open floating windows as you see fit.
Controlling Your Mix The Plug-in Strip ▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s elements described in section ↑13.4.
Using Effects Applying Effects to a Sound, a Group or the Master 14 Using Effects At each Project level (Sound, Group and Master) it is possible to add effects in form of Plugins. Each Sound, each Group and the Master can have an unlimited number of insert effects loaded in their Plug-ins slots. In each Plug-in slot you can load an Internal, Native Instruments or External Effect Plug-in.
Using Effects Applying Effects to a Sound, a Group or the Master Choose the Channel in Which the Effect Is to Be Inserted 1. If you want to apply the effect to the Master (to process the audio of the whole Project), click the MASTER tab in the top left corner of the Control area. 2. If you want to apply the effect to a Group (to process the audio of the whole Group), click the desired Group on the left of the Arranger, and click the GROUP tab in the top left corner of the Control area. 3.
Using Effects Applying Effects to a Sound, a Group or the Master Load the Effect in a New Slot 1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins of the selected channel: The icon lights up. The Plug-in List appears nearby, showing a stack of all Plug-ins already loaded in the channel: In the Plug-in List each Plug-in has its own slot. 2. Click the “+” icon under the last Plug-in in the list (or at the top if the list is empty).
Using Effects Applying Effects to a Sound, a Group or the Master If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows all available Instrument Plug-ins. 3. Click the desired entry in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (for Native Instruments products) or External (for third-party products) submenu at the top of the list.
Using Effects Applying Effects to a Sound, a Group or the Master Notes and Hints on Loading Effects in the Software ▪ Instead of clicking the “+” icon to load the effect in a new slot, you can also click the down-pointing arrow on the right of an existing slot to open the Plug-in menu: The effect selected in the menu will replace the Plug-in currently loaded in that slot. ▪ Instead of using the Plug-in menu, you can also use the Browser to load a particular preset for an effect.
Using Effects Applying Effects to a Sound, a Group or the Master 2. If it’s not already open, open the extended view of the Mixer by clicking the down-pointing arrow at the left of the Mixer: 3. Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display the Plug-in List in each channel strip. Then, put the focus on the channel (Master, Group or Sound) in which you want to load the effect: 1.
Using Effects Applying Effects to a Sound, a Group or the Master 3. To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel strips, in the Mixer’s top row double-click the blank space in the header of the Group containing the desired Sound, then click the header of the desired Sound in the row below.
Using Effects Applying Effects to a Sound, a Group or the Master 14.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably includes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc. Here we provide a reminder of every operation available on the effects both in Arrange view and Mix view.
Using Effects Applying Effects to a Sound, a Group or the Master Action Procedure Bypass an effect Click the FX icon (in Arrange view) or the little square (in Mix view) at the left of the effect name in the Plug-in List. Click again to re-enable the effect. Save the current effect settings as preset Open the Plug-in menu, and select Save As… at the bottom of the menu.
Using Effects Applying Effects to a Sound, a Group or the Master In music production the side-chain signal is most of the time another audio track of the project. A common example is the use of the kick drum track as side-chain for the compression of the bass track: on each kick the compressor will compress the bass more, resulting in a typical pumping effect between kick and bass that can be heard in various styles of dance music.
Using Effects Applying Effects to a Sound, a Group or the Master Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Using Effects Applying Effects to External Audio 14.2 Applying Effects to External Audio MASCHINE’s flexible routing facilities allow you to apply effects to external audio as well. This external audio can come from the inputs of your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used as a plug-in. To do this, we will choose a Sound and make use of the Audio page in its Input properties. 14.2.
Using Effects Applying Effects to External Audio MASCHINE in Plug-in Mode If MASCHINE is running as a plug-in in a host environment, the MASCHINE plug-in can receive audio from the host only. Please refer to your host documentation to find out how to route audio channels to the virtual audio inputs of the MASCHINE plug-in. In this example, we will assume that you routed some audio channels of your host to the first virtual input pair of MASCHINE. 14.2.
Using Effects Creating a Send Effect Sound in section ↑14.2.2, Step 2: Set up a Sound to Receive the External Input above, the Plug-in List should be empty: 2. 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. 3. Click the desired effect in the list.
Using Effects Creating a Send Effect 14.3.1 Step 1: Set Up a Sound or Group as Send Effect The procedure to set up a Sound or Group as a send effect is straightforward: You just need to load an effect into its first Plug-in slot — MASCHINE will take care of the rest and make it available as destination for other channels of your Project! The procedure in Arrange view is described here. You can also do this in Mix view — see section ↑14.1.1, Adding an Effect.
Using Effects Creating a Send Effect 3. Click the “+” icon at the top of the Plug-in List. The Plug-in menu opens and shows a list of all available Instrument and Effect Plug-ins. 4. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may also load them from the menu by selecting the Native Instruments (Native Instruments products) or External (third-party products) submenu at the top of the list.
Using Effects Creating a Send Effect → The Sound slot now mirrors the Plug-in name. For more information on renaming Sound slots, see section ↑5.2.3, Renaming Sound Slots. 14.3.2 Step 2: Route Audio to the Send Effect Once you have configured a Sound or Group as send effect (see ↑14.3.1, Step 1: Set Up a Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to that Sound or Group.
Using Effects Creating Multi-Effects When setting up complex routings, please take care to avoid feedback loops! In addition, the following points are worth noting: ▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many Sounds and Groups instead of loading another reverb in each Sound/Group makes a big difference on the CPU load. You can adjust at which extent the reverb must be applied on each Sound/Group via the respective Level controls in their Output properties.
Using Effects Creating Multi-Effects ▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plugin List in a single Sound. ▪ You can rename and colorize each Sound individually according to the effect(s) it contains. ▪ You have a better control on your whole effect sequence from your controller. ▪ You can easily re-arrange your effect sequence by changing the routing between your Sounds.
Using Effects Creating Multi-Effects However, take time to name every Sound in this multi-effect Group after the effect(s) inserted and to give it a name that allows you to recognize it as an effect; remember that you will be choosing this effect from a potentially large list in your user library. In the MASCHINE Library there are already a number of multi-effect Groups tagged Multi FX: Groups of the Multi FX type in the LIBRARY pane.
Effect Reference 15 Effect Reference MASCHINE provides a healthy selection of more than 20 different Effect Plug-ins that can be quickly applied to Sounds, Groups and the Master, all as insert effects. By using MASCHINE’s powerful routing system, it is also easy to setup send effects, build complex effect chains or apply an effect to an external source that is connected to your audio interface, such as an instrument, vocals or a turntable.
Effect Reference Dynamics 15.1 Dynamics 15.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dynamic range. In addition to the legacy Classic mode, the Compressor provides an alternate Feedback mode. If this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the Control area and on your controller).
Effect Reference Dynamics Parameter Description MODE Section Mode Selects between two operation modes: Classic (default setting) and Feedback. Whereas Classic mode generates a cleaner and more precise compression, Feedback mode introduces a subtle change in transient shape and frequency responsiveness. The memory-based envelope detection along with the kneedependent ratio and gain give this mode a typical vintage feel.
Effect Reference Dynamics Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g.
Effect Reference Dynamics On your controller the outputs available in the SOURCE parameter are labeled as in the display of the Source selector described above. For more information on how to use the side-chain input, please refer to section ↑14.1.3, Using the Side-Chain Input.
Effect Reference Dynamics The Gate panel in the Plug-in Strip. 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 Parameter Description Release The time the Gate will take to release the input signal after it rises above the threshold. OUTPUT Section Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Side-Chain Input Page The Gate in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in.
Effect Reference Dynamics Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Center Freq Adjusts the center frequency of the filter. Width Adjusts the bandwidth of the filter.
Effect Reference Dynamics fect (no threshold) but rather affects all parts of the signal. This retains the musical character of your sound while keeping operation simple and intuitive: Adjust the desired amount of accentuation for the attack and/or sustain phases and you’re all set! The Transient Master panel in the Plug-in Strip. The Transient Master in the Control area. Parameter Description DEPTH Section Input Gain Adjusts the level of the input signal.
Effect Reference Dynamics Parameter Description Sustain Prolongs/shortens the sustain phases in your signal. With the knob at the middle position, the sustain phases are not altered. From this position, turning the Sustain knob to the left shortens the sustain phases, while turning it to the right prolongs them. Limit Activates a hard limiter at the output, preventing the output signal from clipping.
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 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.
Effect Reference Dynamics Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g., Drums) For Sounds: [Group name]: [Sound name] (e.g.
Effect Reference Filtering Effects 15.2 Filtering Effects 15.2.1 EQ Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can also be used as a DJ-style cut-and-boost effect. Please note that in the Control area and on your controller the EQ parameters are spread over two pages. The EQ panel in the Plug-in Strip.
Effect Reference Filtering Effects Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. LOW-MID Section Freq Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. HIGH-MID Section Freq Frequency selector for the second mid-frequency band.
Effect Reference Filtering Effects 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 15.2.2 Gain control for the EQ altogether. Filter Filter with selectable characteristics that can be modulated via LFO or envelope.
Effect Reference Filtering Effects The Filter panel in the Plug-in Strip. Main Page The Filter in the Control area: Main page. Parameter Description TYPE Section Mode Select between four different filter modes: LP (low-pass), BP (bandpass), HP (high-pass), and Notch. Depending on the mode selected, the following parameters vary as indicated. FREQ Section Cutoff Controls the cutoff frequency of the filter. Resonance Controls the amount of resonance, i.e.
Effect Reference Filtering Effects Parameter Description Amount Defines how much the Filter gets modulated by the modulation source. Source Select between three different modulation sources: LFO, LFO Sync, and Envelope. Depending on your choice for the modulation source, the following parameters appear to the right: Source: LFO Articulates the opening and closing of the filter using an LFO. Use this setting in combination with Speed, and LFO Shape.
Effect Reference Filtering Effects Side-Chain Input Page The Filter in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups. In the menu these outputs are labeled as follows: For Groups: [Group name] (e.g.
Effect Reference Filtering Effects On your controller the outputs available in the SOURCE parameter are labeled as in the display of the Source selector described above. For more information on how to use the side-chain input, please refer to section ↑14.1.3, Using the Side-Chain Input. 15.2.3 Cabinet The Cabinet Emulation is a cabinet and microphone component that proves full control over all the (post-amp) stages of recording a guitar tone.
Effect Reference Filtering Effects Main Page Element Description CABINET Section Cabinet Selects from four different cabinet types, which includes: ▪ American Cabinet ▪ British Cabinet ▪ 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.
Effect Reference Modulation Effects 15.3 Modulation Effects 15.3.1 Chorus The Chorus is useful to “thicken” signals and enhance or add stereo content. It is most effective on melodic sounds, but can also be used on hi-hats to make them more vivid or on a voice sample to create a doubling effect (thereby making it sound as if there were several voices). It works by splitting the audio signal up into two versions and slightly detuning one of them. The Chorus panel in the Plug-in Strip.
Effect Reference Modulation Effects Parameter Description Amount The amount of the Chorus effect. OUTPUT Section Mix 15.3.2 Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Flanger Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the Chorus, but the difference between them is that the Flanger modulates the signal faster, it is equipped with a feedback mechanism, and can be synchronized to the tempo of the Project.
Effect Reference Modulation Effects 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 FM panel in the Plug-in Strip. FM in the Control area. 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.
Effect Reference Modulation Effects 15.3.4 Freq Shifter The Freq Shifter shifts selected frequencies of the audio signal by a user-specified amount. With high frequencies it sounds like a pitch shifter; with low frequencies it sounds like a special chorus. 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.
Effect Reference Modulation Effects Parameter Description Stereo This parameter widens the stereo field of the effect. Invert Inverts the settings of the Freq Shifter. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. 15.3.5 Phaser Classic phaser with LFO and envelope modulation. The Phaser panel in the Plug-in Strip. The Phaser in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Phaser.
Effect Reference Spatial and Reverb Effects Parameter Description 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. Source Here you can select the modulation source of the Phaser: available options are LFO, LFO Sync, and Envelope.
Effect Reference Spatial and Reverb Effects The Ice panel in the Plug-in Strip. 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.
Effect Reference Spatial and Reverb Effects 15.4.2 Metaverb Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Reverb it has a much more “synthetic” sound, which is particularly suited for melodic content. The Metaverb panel in the Plug-in Strip. The Metaverb in the Control area. Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low Low band EQ to cut or boost bass frequencies.
Effect Reference Spatial and Reverb Effects Parameter Description Pan This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural. OUTPUT Section Mix 15.4.3 Mix lets you adjust the amount of the effect in relation to the dry original audio signal. 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 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 15.4.4 Mix lets you adjust the amount of the effect in relation to the dry original audio signal.
Effect Reference Spatial and Reverb Effects The Reverb panel in the Plug-in Strip. 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 Parameter Description Stereo This parameter widens the stereo field of the effect. OUTPUT Section Freeze Enabling Freeze both mutes the dry signal and traps the current state of the Reverb output in a temporary buffer to make it last much longer. This is a powerful tool for playing live: By simultaneously tweaking the Mix knob nearby, you can create striking breaks! Setting the EQ’s Low and High controls to generous values will further increase the effect.
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 Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB). 15.4.5.2 Reverb Hall The Reverb Hall mode is a spacious and natural reverb that is particularly suited to tonal sounds.
Effect Reference Spatial and Reverb Effects 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 Softness Alters the balance between early reflections and the late reverb tail. It also changes the amount of diffusion present. It allows you to soften the attack of the reverb and push it more into the background, so it doesn't muddy the dry sound so much. Available values range from 0.0 to 100.0% (default: 90.0%). Pre Delay Adjusts the initial delay between the original signal and the first reverberant sound.
Effect Reference Spatial and Reverb Effects 15.4.5.3 Plate Reverb This effect emulates a plate reverberator. Partly inspired by a legendary plate reverb system, this efficient reverb effect can be used in numerous situations. Its controls make the Plate Reverb easy to use while still flexible and unique sounding. The Plate Reverb is the best choice if a vintage metallic sound is desired. It is particularly good for vocals, but popular for other material as well, such as snare drums.
Effect Reference Delays Parameter Description EQ Section Low Shelf Controls the low-frequency content in the reverberated signal. High Damp Adjusts the damping of the high frequencies in the reverberated signal. 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. 15.5 Delays 15.5.
Effect Reference Delays 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. Feedback Adjusts the amount of output signal fed back into the input.
Effect Reference Delays Parameter Description Stereo This parameter widens the stereo field of the effect. Values go from -100.0 % to 100 % — negative values inverse the stereo field of the effect. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Unit Page The Beat Delay in the Control area: Unit page. Parameter Description UNIT Section Unit 15.5.2 Defines the unit used by the Time and Offset parameters on the Main page.
Effect Reference Delays The Grain Delay panel in the Plug-in Strip. Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher. Size Defines the length of the grains. Jitter Introduces artifacts into the grains. Reverse Produces a reverse playback of the grain.
Effect Reference Delays Parameter Description Density Creates a more “dense” cloud: higher values create feedbacklike effects. Mod The amount of modulation introduced to the grain cloud. Mix Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo 15.5.3 This parameter widens the stereo field of the effect.
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 15.5.4 Mix lets you adjust the amount of the effect in relation to the dry original audio signal. 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. The Resochord panel in the Plug-in Strip.
Effect Reference Delays 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. Spread (String mode) Allows you to define how big the difference in tuning is between combs.
Effect Reference Distortion Effects 15.6 Distortion Effects 15.6.1 Distortion The Distortion effect contains two modes of distortion: Mullholland and Analog. The Distortion panel in the Plug-in Strip. The Distortion in the Control area. Mullholland Mode Mullholland mode combines overdrive, feedback and modulation, this produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates.
Effect Reference Distortion Effects Parameter Description MAIN Section Mode Select a distortion type: Mullholland or Analog. 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 Element Description Bass Attenuates the low frequencies of the distortion effect. Available values range from 0.0 to 100.0% (default: 100.0%). 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.
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. OUTPUT Section Mix 15.6.
Effect Reference Distortion Effects The Saturator panel (here in Tube mode) in the Plug-in Strip. Classic Mode The Classic mode is the legacy mode. It combines compression and saturation to increase the overall loudness and add additional harmonics. The Saturator in Classic mode in the Control area. Classic Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.
Effect Reference Distortion Effects Classic Mode – Parameter Description Contour Determines how closely the Saturator responds to the input volume. Higher values create a more distorted sound. Drive Adjusts the amount of distortion introduced by the Saturator. Tape Mode The Tape mode emulates the soft compression and pleasant saturation induced by recording to analogue magnetic tapes. It can be used lightly to add warmth and coloring to the sound, or heavily to add aggressive distortion.
Effect Reference Distortion Effects Tube Mode The Tube mode emulates the smooth saturation of overdriven tube amplifiers. It is equipped with a feedback-driven dynamic compression and an additional EQ section allowing you to fine adjust the frequency content to be processed. The Saturator in Tube mode in the Control area. Tube Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here.
Effect Reference Perform FX Tube Mode – Parameter Description Bass Adjusts the level of the low frequency band. Treble Adjusts the level of the high frequency band. OUTPUT Section Gain 15.7 Adjusts the output level of the effect. Use this to compensate for changes in volume caused by input gain and signal compression.
Effect Reference Perform FX ▪ Tremolo: Tremolo is a tremolo/vibrato effect, useful for adding expression and movement on the fly. For more information see section ↑15.7.7, Tremolo. ▪ Scratcher: At its most basic, Scratcher allows you to apply a turntable "brake" to the incoming signal and then scratch it, as if on vinyl. But an additional pitchshifter delay, linked to the Smart Strip position, adds a wealth of sonic possibilities, from simple thickening to alien-sounding sweeps.
Effect Reference Perform FX Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect. TOUCHSTRIP Section 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.
Effect Reference Perform FX Parameter Description Max. Freq Sets the upper limit for cutoff frequency. SATURATION Section Saturation Sets the input gain of the filter. Out Level Sets the output gain of the filter. 15.7.2 Flanger A comb filter effect with more than a few tricks up its sleeve. Get performance-ready flanger or phaser effects, or expose its wild side – setting higher decay and frequency values unleashes ping-pong delay-like flutter effects. Flanger Perform FX in the Plug-in Strip.
Effect Reference Perform FX Flanger Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound. STEREO Controls the stereo spread of the effect.
Effect Reference Perform FX Setup Page Parameter Description COLOR Polarity Flips the phase of the signal in the feedback loop. Negative polarity lowers the pitch by an octave and produces a slightly hollower sound. Tone Offers the choice between Flanger mode, essentially a straightforward comb filter or short delay, and Phaser mode, which shifts the phase of the signal in the feedback loop to produce a more rounded, hollow tone. 15.7.
Effect Reference Perform FX Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated. The feedback is reduced when the effect is disengaged.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Replace mode, the dry signal is muted after the first repetition, leaving only the delay tail audible until the effect is released. ▪ In Wet Only mode, the dry signal is muted entirely, which is useful for placing the effect on a send. Feed 15.7.
Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback. Pump Controls the amount of compression applied to the feedback loop. Wet Level Controls the volume of the delayed signal.
Effect Reference Perform FX Setup Page COLOUR Saturation Controls the amount of saturation applied to the feedback path. Resonance Controls the resonance of the filters in the filter bank. More resonance emphasizes the "singing" effect. 15.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick individual notes and keep them ringing into the stratosphere.
Effect Reference Perform FX Ring Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. OSC Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency. At higher Spread values, the oscillator frequencies become further apart.
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In Mix mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter. ▪ In Wet Only mode, the dry signal is muted entirely, leaving silence except when the effect is activated. This is useful for using Ring as an instrument with a sustained sound (e.g. a pad) as source material. 15.7.
Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using TS Assign. TS Assign Assigns the control to Length or Pitch. STUTTER Gate Applies a volume envelope to the loop, exaggerating the "stutter" effect, especially at short loop lengths.
Effect Reference Perform FX Parameter Description Quantize Quantizes the loop length and start point to the song position and tempo. When Quantize is off, the loop length is continuously variable and measured in milliseconds, and no quantization takes place. Quantization is especially meaningful if direction is set to Reverse or Both, since it's during reverse playback where a poorly timed loop will sound completely off-time. 15.7.
Effect Reference Perform FX Tremolo Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Enables and disables the effect. Position Controls the tremolo and vibrato rate and depth, within the ranges defined by the Min and Max parameters on the second page. TREMOLO Trem/Vibr Controls the balance between tremolo (modulation of amplitude) and vibrato (modulation of frequency/pitch). Vibr Mode Sets the vibrato mode.
Effect Reference Perform FX Setup Page Parameter Description DEPTH RANGE Depth Min Controls the amplitude of the modulation when the parameter position is set to 0%. Depth Max Controls the amplitude of the modulation when the parameter position is set to 100%. DEPTH RANGE Rate Min Controls the rate of the modulation when the parameter position is set to 0%. Rate Max Controls the rate of the modulation when the parameter position is set to 100%. 15.7.
Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area.
Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time). SWIRL Delay Time Controls the delay time range. Longer values produce a delay effect. Shorter values result in a comb filtering effect.
Working with the Arranger Arranger Basics 16 Working with the Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. The MASCHINE Arranger has two different views: Ideas view and Song view which are also reflected on your controller. Each view has a specific purpose in the workflow of creating a song, but essentially they represent the same content.
Working with the Arranger Arranger Basics The Ideas View The Ideas view allows you to experiment with your musical ideas without being tied to a timeline or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene. 1 2 3 The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your Project.
Working with the Arranger Arranger Basics (see ↑2.3.4, Control Area). To mute a Group click the Group letter, for example A1, and rightclick ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options available to manage them.
Working with the Arranger Arranger Basics (4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene assigned to the Section along with the Scene's Patterns stacked vertically for each Group in the Project. The Patterns seen here are the same as those seen when viewing the same Scene in the Ideas view. 16.1.1 Navigating Song View Song view can be scrolled and zoomed in or out to fit your current needs.
Working with the Arranger Arranger Basics ▪ Double-click the main part (1) to reset the zoom and display all of the Sections in your arrangement. Navigating the Arranger Vertically A classic scroll bar is available right of the Arranger. It allows you to scroll to view hidden Groups in if they do not fit in the Arranger. The classic scroll bar right of the Arranger.
Working with the Arranger Arranger Basics ► Press SHIFT + VARIATION (Navigate) to enter Navigation mode. Action Shortcut Scroll Arranger left Press pad 9 Scroll Arranger right Press pad 11 Zoom in (Arranger) Press pad 14 Zoom out (Arranger) Press pad 10 16.1.
Working with the Arranger Arranger Basics The Follow function affects both the Pattern Editor and the Arranger simultaneously (see section ↑11.1.3, Following the Playback Position in the Pattern for more information on the Follow function in the Pattern Editor). To follow the playhead position during playback: ► Press the FOLLOW button in the Transport section (at the bottom of your controller). → The FOLLOW button lights up.
Working with the Arranger Arranger Basics one quarter note, one eighth note, one sixteenth note, the whole Scene/Section, and Off. If you choose Off, the Scene/Section change will be performed immediately after you select the next loop. ▪ The Retrigger setting lets you decide where the next loop will start: ◦ If Retrigger is enabled, the next Section (Ideas view) or Section (Song view) that is selected will be forced to play from the start.
Working with the Arranger Arranger Basics 2. To adjust the Perform Grid, click the Performance Grid menu in the Header and select the desired division from the menu: → The next time you select a new Scene/Section or group of Scenes/Sections for looping, the switch will happen on the next division selected here. ► To enable/disable the Retrigger setting, click the Performance Grid menu in the Header and select Retrigger from the menu.
Working with the Arranger Arranger Basics 16.1.3.2 Jumping to Other Scenes using the Controller In Ideas view the Perform Grid and the Retrigger controls the setting for jump between Scenes, and in Song view it sets the jump between Sections. Setting the Perform Grid and Retrigger Settings To set the Perform Grid and the Retrigger settings: 1. Press SCENE to select Scene mode or SHIFT + SCENE (Section) Section mode. 2.
Working with the Arranger Using Ideas View 1. Press SHIFT + SCENE (Section) to select Section mode. 2. Press the Right Arrow button to access Retrigger. 3. In the display you see the current Retrigger value (Off by default). 4. Turn the Control knob to select On. The next time you select a new Section or loop range, it will start from the beginning. Make sure you have created at least one Section before you try to set the Retrigger setting; otherwise, the setting will not be available. 16.
Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode focuses on Scene selection and manipulation. To enter Scene mode on your controller: ► Press SCENE (Section) to enter Scene mode. → The software switches to Scene mode. This is indicated by the illuminated SCENE (Section) button.
Working with the Arranger Using Ideas View In addition, the Scene mode provides useful Scene management commands similar to those of the Scene Arrange mode. These are described in the following sections. 16.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View ► To create a new Scene, click the “+” button located after all existing Scene names in the top row of the Ideas view. Click the “+” button to create a new Scene.
Working with the Arranger Using Ideas View In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots. Any changes made in Ideas view or Song view are one and the same. Assigning and Removing a Pattern in Ideas View 1. Select a Scene slot. 2. Then click the Pattern slot you want to assign or remove for that Scene.
Working with the Arranger Using Ideas View Patterns and the Pattern Editor are described in chapter ↑11, Working with Patterns. Creating a New Empty Pattern in Ideas View You can also create a new empty Pattern in Ideas view: ► In the Ideas view, double-click the empty Pattern slot located in the column of the desired Group. → A new empty Pattern is created.
Working with the Arranger Using Ideas View ► Press the desired pad to select the Pattern you want to use in that Scene. → If you have pressed a dim lit pad, a Pattern is inserted into the selected Scene. If you have pressed an unlit pad, a new empty Pattern is automatically created in the selected Scene. In both cases, any Pattern previously existing for that Group in the Scene will be replaced.
Working with the Arranger Using 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 playback is off the playhead immediately jumps to the beginning of the selected Scene. If playback is on the playhead jumps according to the Perform Grid settings — see section Jumping to Other Scenes. 16.2.
Working with the Arranger Using Ideas View 16.2.6 Creating and Deleting Scene Banks A new Scene bank is automatically created once you fill an entire bank with Scenes. 16.2.7 Clearing Scenes Clearing a Scene allows you to remove all its Patterns, leaving the Scene empty. Clearing Scenes is only available from within the software. While deleting a Scene removes it entirely from your arrangement, clearing it only removes its content — the Scene stays in your arrangement, but empty.
Working with the Arranger Using Ideas View ▪ duplicate Scenes ▪ duplicate Scenes and Patterns ▪ link when duplicating Sections For more information on the Default page of the Preferences, read: ↑3.6.4, Preferences – Default Page. Duplicating a Scene in the Software To duplicate a Scene in the software: ► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ▪ The selected Scene is duplicated in accordance with the setting 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. For more information, read: ↑3.6.4, Preferences – Default Page. 16.2.9 Reordering Scenes Reordering Scenes in Ideas view allows you to visually organize your ideas and also place each idea on a specific pad of your controller. The reordering of Scenes will not affect your arrangement. In the software you can reorder Scenes in the Ideas view.
Working with the Arranger Using Ideas View → The Scene takes its new place. On your controller in Scene mode, you can now select this Scene via the pad corresponding to its new location. 16.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique. This allows you to work on a new separate copy of the Scene and its Pattern in isolation. Use Unique in combination with the Duplicate option.
Working with the Arranger Using Ideas View 16.2.11 Appending Scenes to Arrangement Once you are satisfied with a Scene you can append it directly to your arrangement in the Song view.
Working with the Arranger Using Ideas View 1. Double-click the Scene name at the top of the Arranger: You can also right-click ([Ctrl]-click on macOS) the Scene slot or the corresponding cell in the pad grid and select Rename from the context menu: The Scene name gets 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.
Working with the Arranger Using Ideas View 1. Right-click ([Ctrl]-click on macOS) the name of the desired Scene in the Arranger or in the Scene Manager, and select Color from the context menu. A Color Palette appears. In the Palette, the current color of the Scene is highlighted. 2. Select the desired color in the Palette. You can also choose to set the Scene back to its default color by selecting Default at the bottom of the Color Palette. → The Scene slot takes the new color you select.
Working with the Arranger Using Song View 16.3 Using Song View In MASCHINE, a song is made of a variable number of Scenes, which represent the different parts of the song, for example, intro, verse, chorus, break, another verse. By assigning your Scenes to Sections to the Timeline in the Song view you can start to organize your track. The Song view is where you can sequence Scenes to create your final arrangement. This process involves creating a Section on the Timeline and assigning a Scene to it.
Working with the Arranger Using Song View 2. To open the Section Manager, click the drop-down menu on the left of the arrangement. → The Section Manager appears on the right. Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank. 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 Song 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 Song View Creating a Section using the Software ► To create a new Section, click the “+” button located after all existing Section names in the top row of the Song 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: ↑16.3.3, Assigning a Scene to a Section.
Working with the Arranger Using Song 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 Song view using your controller: 1. Press SHIFT + SCENE (Section) to access the Song view. 2. Press the right arrow button to select SCENE. 3.
Working with the Arranger Using Song View ► Select the desired Section by clicking its name at the top of the Song 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 ↑16.3.1, Section Management Overview). 2.
Working with the Arranger Using Song 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 Song View Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank: 1. Press SHIFT + SCENE (Section) to access the Song view. 2. Press the Right Arrow button to select Bank. 3. Turn the Encoder to select the Bank you want to add to the Section. → The desired Bank is selected.
Working with the Arranger Using Song View If you have selected a Section within the current Loop Range via the Arrow buttons, the Loop Range and the playback position stay untouched. Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank: 1. Press SHIFT + SCENE to enter Song view. 2. Press and hold SCENE to enter Scene mode (or pin it by pressing SCENE + CONTROL). 3.
Working with the Arranger Using Song View To move a Section: 1. Click and hold the Section name in the Arranger. 2. While holding the mouse button, drag your mouse horizontally in the Arranger to the desired location. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Section. 3. When the insertion line appears at the desired location, release the mouse button. → The Section takes its new place.
Working with the Arranger Using Song View 2. Press the Right Arrow button to select Position. 3. Press the pad of the Section you want to move. 4. Turn the Encoder to change the position of the selected Section. → The Section takes its new place. In Section mode you can now select this Section via the pad corresponding to its new location. 16.3.
Working with the Arranger Using Song View ranger, and a Truncated Pattern marker will appear on the right-hand side of the Section to indicate that a section of the Pattern is hidden: ▪ If a Section has been manually shortened, only the visible part of the Pattern within the set length will be audible. ▪ Scenes always start at the beginning of the Section. 16.3.6.
Working with the Arranger Using Song View ► Click and drag the end marker of the Section to the left. → The Scene will be shortened, and if the adjustment is shorter than the referenced Pattern a small Truncated Clip marker will appear on the right-hand side of the Section to indicate that a part of the Scene is hidden. Only the visible part of the Scene will be audible during playback.
Working with the Arranger Using Song View 16.3.6.2 Adjusting the Length of a Section Using the Controller To adjust the length of a Section using your hardware controller: 1. Press SHIFT + SCENE (Section) to enter Song view. 2. Select the pad relating to the Section you want to adjust. 3. Press the Right Arrow button to access Length. 4. Turn the Encoder to adjust the length of the Section as required.
Working with the Arranger Using Song View For more information on the Default page of the Preferences, see ↑3.6.4, Preferences – Default Page. Duplicating a Section ► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ▪ The selected Section is duplicated in accordance with Scene / Section settings in the Default page of the Preferences. Duplicating a Section on Your Controller To duplicate a Section using your controller: 1.
Working with the Arranger Using Song View 16.3.8.1 Making Sections Unique At any time, you can make a linked Section totally unique. This will create a new Section in the same location, and will also create new Patterns. You are then free to edit the Patterns in the Section, or the data in the Patterns, without affecting any of the original Sections. This is great for when you want to introduce variations into a song structure that’s been made with linked Sections.
Working with the Arranger Using Song View ► In the top row of the Song 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 Song View To organize your song, you can rename Scenes and use custom names of your own. Naming is only available from within the software, but any changes will also show up in both views of the Arranger (Ideas view and Song view) and on your controller. Renaming Scenes in the Song view To rename a Scene in the Song view: 1. Double-click the Scene name at the top of the Song view.
Working with the Arranger Using Song View 16.3.11 Clearing Sections Clearing a Section allows you to remove the referenced Scene, leaving the Section empty. Clearing Sections is only available from within the software. While deleting a Section removes it entirely from your arrangement, clearing it only removes its content, the Section stays in your arrangement, but empty. For information on deleting Sections, see section ↑16.3.9, Removing Sections.
Working with the Arranger Using Song View 16.3.13.1 Creating a Pattern in Song View In Song view use the right-click context menu to create a new Pattern within a Section. To create a new Pattern in Song view: ► Right-click ([Ctrl]-click on macOS) an empty cell the Section where you want to create a new Pattern, and click Create in the menu. → A new empty Pattern is created within the selected Section. 16.3.13.
Working with the Arranger Using Song View ► Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to rename, and click Rename in the menu. → The Pattern is renamed. 16.3.13.5 Coloring a Pattern in Song View In Song view use the right-click context menu to change the color of a Pattern within a Section. To recolor a Pattern in Song view: 1. Right-click ([Ctrl]-click on macOS) the Pattern you want to recolor, and select Color in the menu. 2. Select a new color.
Working with the Arranger Using Song View → The selected Pattern is duplicated. The duplicate Pattern will take the place of the existing Pattern in the Scene and appear in each Section where the Scene is used in the arrangement. 16.3.14 Enabling Auto Length By default a Section is set to Auto Length allowing it to resize automatically to the content within the Section.
Working with the Arranger Using Song View To enable Auto Length for a Section using your controller: 1. Press SHIFT + SCENE (Section) to enter Song view. 2. Press the corresponding pad to select a Section. 3. Press the Arrow buttons to select Length. 4. Turn the Encoder to select Auto. → The selected Section is automatically resized to fit the content of the Patterns within the assigned Scene. 16.3.15 Looping Activate a Loop to repeatedly play a section of the Arrangement.
Working with the Arranger Using Song View To move the Loop using the software: ► 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. 16.3.15.
Working with the Arranger Playing with Sections Studio Track or Live Performance? If you are composing a studio track that you plan to export as is, you can arrange your Sections so that your whole track can be played in one go from the very first Section to the very last one. Please refer to section ↑5.4.3, Exporting Audio for information on exporting audio.
Working with the Arranger Triggering Sections or Scenes via MIDI ▪ If playback is off, the playhead jumps to the closest Perform Grid division. If the Perform Grid is set to Off (i.e. disabled), the playhead jumps to the exact position you have clicked. If the Perform Grid is set to Quick, the playhead jumps to the beginning of the bar you have clicked in.
Working with the Arranger Triggering Sections or Scenes via MIDI Program Change numbers: Some host applications send Program Change numbers in the range [0– 127] instead of [1–128]. In that case, the PC number 0 will trigger Section/Scene slot 1, PC 1 will trigger Section/Scene slot 2, etc. Please refer to the documentation of your host to know in which range it sends Program Change numbers.
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. 16.6 The Arrange Grid The Arrange Grid is used to quantize all modifications related to the timeline.
Working with the Arranger Quick 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 the Right Arrow button to access Arrange. 3. Turn the Encoder to select an Arrange Grid value. → The selected Arrange Grid value is applied. 16.
Working with the Arranger Quick Grid When the Quick Grid is used, the following rules apply: ▪ The available Pattern lengths are as follows:1 bar, 2 bars, 4 bars, 8 bars, 12 bars, 16 bars, etc. (+ 4 bars each time starting from 4 bars). ▪ The Quick Grid is exclusively applied to Pattern Length. For all other features related to the Grid (for example, adjusting the playback position or the Loop Range), the Arrange Grid is used. ▪ The Quick Grid setting is global and applies to all Patterns.
Sampling and Sample Mapping Opening the Sample Editor 17 Sampling and Sample Mapping MASCHINE allows you to record internal or external audio signals without having to stop the sequencer. This is a useful feature if you want to record your own Samples, or rearrange loops that you have created yourself using MASCHINE. You can apply various types of destructive processing to the recorded audio or to any Sample you want to use in a Sound.
Sampling and Sample Mapping Opening the Sample Editor 2. Click the Sample Editor button on the left of the Pattern Editor to switch to the Sample Editor. The Sample Editor appears and displays the Sample content of the focused Sound. 3. In the Sample Editor, click the desired tab at the top to access the corresponding page: ▪ The Record page allows you to record audio: ↑17.2, Recording Audio. ▪ The Edit page allows you to apply destructive edits to existing Samples: ↑17.3, Editing a Sample.
Sampling and Sample Mapping Recording Audio ▪ The Slice page allows you to create Slices from your existing Samples: ↑17.4, Slicing a Sample. ▪ The Zone page allows you to assign your Samples to particular note and velocity ranges (called Zones) in your Sound and to adjust various playback settings for each Zone individually: ↑17.5, Mapping Samples to Zones.
Sampling and Sample Mapping Recording Audio The Record page in the software. 17.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the INPUT section and the RECORDING section allow you to select which source should be recorded and how the recording should be made. Adjusting the source and mode of the recording in the software.
Sampling and Sample Mapping Recording Audio ▪ To record external audio signals connected to your audio interface, select Ext. Ster. (for stereo signals) or Ext. Mono (for mono signals). ▪ To record audio signals coming from MASCHINE itself, select Internal. ► 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.
Sampling and Sample Mapping Recording Audio 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). ▪ Sync: Select Sync to start recording audio in time with the Pattern Grid. If the focused Sound Slot contains neither an Audio nor Sampler plug-in, then the recorded Sample will be loaded automatically into a Sampler plug-in as the first Take.
Sampling and Sample Mapping Recording Audio ◦ Pattern: Select this Target to record in a similar way to the Sound Target described above, except that each new recording will also be assigned to a new Pattern on its own. This mode can be useful when you want to record different variations of a part and then review the variations easily by playing each Pattern.
Sampling and Sample Mapping Recording Audio 17.2.3 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 ↑17.2.2, Selecting the Source and the Recording Mode above): ▪ When recording in Detect mode: ◦ The recording will start as soon as the input signal exceeds the THRESHOLD value.
Sampling and Sample Mapping Recording Audio ◦ Once the recording has started, the audio is recorded for the duration set by the LENGTH control (see section ↑17.2.2, Selecting the Source and the Recording Mode above). You can also click Stop beforehand to stop the recording at the next bar, or Cancel to cancel the recording (in that case the recorded audio will not be saved).
Sampling and Sample Mapping Recording Audio ▪ If the Audio Plug-in was used in Loop mode, the last recorded Take will automatically play back with the Pattern. Note that any MIDI Events for that Sound in the current Pattern will remain. As a consequence, your recording might directly start to play at the pitch defined by the existing MIDI Events. 17.2.4 Arming, Starting, and Stopping the Recording on Your Controller 1. Press SAMPLING. 2. Press the Encoder (Start) to arm the recording.
Sampling and Sample Mapping Recording Audio 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 Audio Pool (5) — by default your last recording: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2). ▪ When the Sample is played back (e.g.
Sampling and Sample Mapping Recording Audio 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 Audio ▪ 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 Audio Pool to open a context menu with the following commands: Command Description Delete Deletes the displayed take from the Audio Pool.
Sampling and Sample Mapping Editing a Sample 17.3 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. Sample Editing can only be done in the Sampler plug-in, not using the Audio plug-in.
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 ↑17.5.4, 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 ↑13.2.6, Using the Cue Bus for more information). Click the little circle (or pair of circle) at the far right to switch the waveform display (1) between single-channel and two-channel display. (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, the right Page button provides access to the Edit page so you can trim the start and end points of a loop or one-shot sample using your controller. These parameters adjust the range that is played when you trigger a note. Access the Play Range parameters using the Page buttons. Parameter Description START Adjusts the start point of the play range in the Sample.
Sampling and Sample Mapping Editing a Sample The Audio Toolbar provides following audio processing functions: Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM. (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.
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 Slicing a Sample 17.4 Slicing a Sample Slicing allows you to chop up loops to extract single Sounds (the drum sounds of a drum loop for example), but it's also good for preparing a loop to be played back at another tempo without changing its pitch or timing. The resulting Slices can then be exported to different notes of the same Sound or to different Sounds of the same Group.
Sampling and Sample Mapping Slicing a Sample The Slice page in the software. 17.4.2 Adjusting the Slicing Settings At the bottom of the Slice page, you can adjust the settings used to define where the various Slices will be created in the Sample. Adjust the slicing settings at the bottom of the Slice page. Any change to these settings will directly affect the number and position of the Slice markers displayed on the waveform above.
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 You can directly adjust your Slices manually by selecting Manual in the MODE selector, or start from MASCHINE’s proposed Slices as described in section ↑17.4.2, Adjusting the Slicing Settings and fine-adjust these Slices manually — in that case the MODE selector automatically switches to Manual. 4 3 1 2 5 Manually adjusting your Slices.
Sampling and Sample Mapping Slicing a Sample ▪ Context menu: Right-click (macOS: [Ctrl]-click) anywhere in a Slice to open a context menu with the following commands: Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Slice under as a distinct file on your computer.
Sampling and Sample Mapping Slicing a Sample click the main part of the bar to reset the zoom and display the entire waveform. Alternatively you can use the scroll wheel of your mouse when hovering the waveform display (1) to zoom in/ out. (3) Timeline Shows the time scale in seconds. (4) Information bar Displays the file name and the length of the selected Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.
Sampling and Sample Mapping Slicing a Sample With SLICE or REMOVE enabled, you can still prelisten to your individual Slices by pressing the corresponding pads on your controller! 17.4.4 Applying the Slicing Once you are satisfied with the proposed and/or manually adjusted Slices (see section ↑17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices.
Sampling and Sample Mapping Slicing a Sample 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. Additionally, depending on the setting of the Pattern Creation selector (3), some notes can be automatically created for each Slice (see below).
Sampling and Sample Mapping Slicing a Sample Selects from three modes controlling the automatic note creation upon Slice export. The mode selected here will be used both when clicking the Apply button (1) and when using the Slice Dragger (2).
Sampling and Sample Mapping Slicing a Sample Dragging an individual Slice to another Sound. Applying a Sliced Sample to a Sound If you drag a Slice to a Group in the Group List (at the left of the Arranger), it will be exported to the first Sound slot of that Group. Any Sound loaded in that Sound slot will be replaced. When applying a sliced sample to a Sound in an otherwise empty Group, the root note of the Sounds in that Group is set to C-2, matching the key zones of the slices.
Sampling and Sample Mapping Mapping Samples to Zones 17.5 Mapping Samples to Zones Mapping Samples is a way to create Sounds with more than one Sample across the MIDI keyboard and with different velocities. You can create and adjust Zones that define a key (or pitch) range and a velocity range for each Sample included in the Sound. In other terms, the Sample will be triggered only if the played note is within its Zone’s key range and velocity range.
Sampling and Sample Mapping Mapping Samples to Zones 17.5.2 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). (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑13.
Sampling and Sample Mapping Mapping Samples to Zones (4) Zone List: Shows all Zones in a list. The Zone List can be shown/hidden by clicking the Zone List button (1). Click an entry in the list to set the focus to that Zone. You can also select multiple Zones, move them via drag and drop, and add/delete Zones in the list. See section ↑17.5.3, Selecting and Managing Zones in the Zone List for a complete description of the Zone List.
Sampling and Sample Mapping Mapping Samples to Zones You can adjust the width of the Zone List by dragging its right border. Adding a New Zone to the Zone List You can add a new Zone to the Zone List in two ways: ► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system onto the empty area in the Zone List. or 1. Click the “+” at the end of the Zone List. A Load Sample dialog opens up. 2.
Sampling and Sample Mapping Mapping Samples to Zones ► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system onto the desired entry in the Zone List. or 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.
Sampling and Sample Mapping Mapping Samples to Zones Selecting Multiple Zones in the List You can select several Zones in the list at once using the common methods of your operating system. The basic rules for multiple selection are the following: ▪ The focused Zone is automatically selected. It is highlighted in the color of the Sound and its waveform and parameters are displayed in the Slice page’s Sample view and Zone settings as well as on the Edit and Slice pages.
Sampling and Sample Mapping Mapping Samples to Zones 2. Right-click ([Ctrl]-click on macOS) any of the selected Zones. A menu opens up. 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.
Sampling and Sample Mapping Mapping Samples to Zones 17.5.4 Selecting and Editing Zones in the Map View The Map view is visible when the Sample View button (showing a little waveform icon at the right of the Zone tab) is disabled. Disable the Sample View button to see the Map view. The Map view contains following elements: 1 4 2 3 The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound.
Sampling and Sample Mapping Mapping Samples to Zones ▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle’s width) and a velocity range (the rectangle’s height). Any note played within these key and velocity ranges will trigger the Sample of that Zone. ▪ You can zoom in/out both horizontally and vertically via the zooming scroll bars (3) and (4), respectively. ▪ Each Zone header displays the name of the corresponding Sample. ▪ Click a Zone in the Map to put it under focus.
Sampling and Sample Mapping Mapping Samples to Zones Available Actions in the Map You can select and edit Zones with your mouse and your keyboard in the Map. Following actions are available: Mouse/Keyboard Action Command Selection Commands Click a Zone Puts this Zone under focus. The focused Zone is highlighted.
Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Double-click a Zone Extends the key and velocity ranges of the Zone so that it fits the key and velocity limits of the neighbor Zones. This can be very useful to quickly fill up any key or velocity gap between Zones. Right-click ([Cmd]-click on macOS) a Opens the Sample Map menu (see below). Zone Press [Del] or [Backspace] Removes the selected Zone(s) from the Sample Map.
Sampling and Sample Mapping Mapping Samples to Zones 17.5.5 Editing Zones in the Sample View The Sample view is visible when the Sample View button (showing a little waveform icon at the right of the Zone tab) is enabled. Enable the Sample View button to see the Sample view. The Sample view contains following elements: 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.
Sampling and Sample Mapping Mapping Samples to Zones ▪ 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., by pressing the pad or by clicking the little play icon in the information bar above the waveform), a playhead indicator (white vertical line) shows you the current play position within the waveform.
Sampling and Sample Mapping Mapping Samples to Zones 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 LOOP section of the Zone settings, under the waveform display (see section ↑17.5.6, Adjusting the Zone Settings). Note that the loop will always stay within the play range.
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description ACTIVE Enable this to define a loop in the Sample of the focused Zone. When the play position reaches the loop, the playback is looped as long as the note is held. This can be useful to loop either a whole Sample or part of it, e.g., to simulate a longer tone. Note: this technique requires that you set the Sampler’s Type selector to AHD or ADSR on the Pitch / Envelope page (see ↑7.2.2, Page 2: Pitch / Envelope).
Sampling and Sample Mapping Mapping Samples to Zones Parameter Description PAN Sets the panorama position of the focused Zone. ROOT KEY Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. The root key is also indicated by the colored key on the virtual keyboard; to change it, you can drag it to another note on the keyboard.
Sampling and Sample Mapping Mapping Samples to Zones 17.5.7 Adding Samples to the Sample Map You can add Samples directly to the Map view of the Zone page. To see the Map view, make sure that the Sample View button is disabled next to the Zone tab at the top of the Sample Editor. If this is not the case, click it to disable it.
Sampling and Sample Mapping Mapping Samples to Zones The placement of the Zones depends on the original Samples’ position in the selection list: The first Sample selected will get the Zone with the lowest key range, the second Sample selected will get the Zone just over the previous one, etc.
Appendix: Tips for Playing Live Preparations 18 Appendix: Tips for Playing Live MASCHINE is a very hands-on tool for producing music as well as for performing live. Here we have specifically gathered some tips to help you when playing live. If you are used to playing live, you may not need them, but maybe you will find some new ideas to integrate into your set. 18.1 Preparations 18.1.
Appendix: Tips for Playing Live Preparations 18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 18.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an overload of your audio interface, this is a useful safety measure. However, you might experience a somewhat squashed and dull sound if you overuse the Limiter by feeding a lot of loud signals to it. Try it out and see what works best for you! See ↑15.1.
Appendix: Tips for Playing Live Basic Techniques 18.2.2 Create Variations of Your Drum Patterns in the Step Sequencer You can easily create interesting drum patterns by adding or removing steps in the step sequencer. Breaks and build-ups like snare rolls or a double-tempo hi-hat can be created on the fly. See ↑11.3, Recording Patterns with the Step Sequencer for more information on the step sequencer. 18.2.
Appendix: Tips for Playing Live Special Tricks 18.3.2 Using Loops to Cycle Through Samples You can use loops to cycle through Samples, creating glitches and stuttering breaks or interesting soundscapes. Just enter the ZONE page in Sampling mode on your controller, switch on the ACTIVE parameter on the LOOP page and play with the parameters for the start and end point of the loop. Use the SHIFT button to change the values in smaller increments. See ↑7.2.1, Page 1: Voice Settings / Engine for more on this.
Troubleshooting Knowledge Base 19 Troubleshooting If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help. Before getting help please make sure you have downloaded the latest MASCHINE software from Native Access. 19.1 Knowledge Base The Online Knowledge Base gathers useful information about your Native Instruments product and can be of great help to solve possible issues you may encounter.
Troubleshooting Registration Support ▪ The brand and specifications of your computer When installing new software or software updates, a Readme file is included that contains late breaking news and new information that was not yet included in the documentation. Please open and read this Readme file before contacting Technical Support. 19.3 Registration Support If problems occur during the product activation procedure, please contact our Registration Support team: www.native-instruments.com/regsuppfrm.
Glossary 20 Glossary In this glossary you will find short definitions for numerous terms used in the MASCHINE context. If you have any doubts about the meaning of a word, this is the place to check! Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. It contains two views: Ideas view and Song View. Song View The Song view allows you to combine Sections (references to Scenes), and arrange them into a song on the Timeline.
Glossary their audio. You then only have to set up the desired Sound(s) and Group(s) of your Project to send some of their audio to this bussing point. This basically is the way to set up send effects in MASCHINE! Channel Properties Channel properties are sets of parameters available at each Project level (i.e. for each Sound, each Group, and for the Master) that are independent of the Plug-ins loaded in that Sound/ Group/Master.
Glossary Event Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor, events are visually represented by rectangles in the Step Grid. Depending on the current view in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the select Sound slots only (Keyboard view). Groove Properties The Groove properties control the rhythmic relationship between events for the selected Group/ Sound or the Master level.
Glossary Header The Header is the topmost row of controls in the MASCHINE software window. It contains global settings, such as the Master Volume slider, the Transport controls, controls for global swing, tempo, time signature, etc. Keyboard View Keyboard view is the view of the Pattern Editor in which only events of the selected Sound are visible and editable. The Keyboard view provides a vertical on-screen keyboard that indicates the pitch of each event (one row per semi-tone).
Glossary Mute and Solo Muting allows you to bypass a Sound or a Group, whereas Soloing is pretty much the opposite: It mutes all other Sounds or Groups so that only the soloed Sound or Group is played. The combination of muting and soloing is a useful means both to play live and to test different sequences together.
Glossary Plug-in A Plug-in is an instrument or effect unit, either Internal or External (by Native Instruments or a third-party manufacturer), that can be loaded into a Plug-in slot to produce or alter sound. When a Plug-in is loaded into a Plug-in slot, the Plug-in appears in the Plug-in List in the left part of the Control area. Prehear The Prehear feature allows you to listen to Samples directly from the Browser without loading them into Sound slots first.
Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Song view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Song view and are used to arrange the Scenes into a larger musical structure.
Glossary Step Steps are elementary time blocks. They are notably used to apply quantization or to compose Patterns from your controller in Step mode. All steps together make up the Step Grid. In the software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size, e.g., to apply different quantization to different events or to divide the Step Grid into finer blocks to edit your Pattern more precisely.
Index Index Numerics A 16 Velocities Ableton Link in Pad mode [225] 4-D encoder adjusting the volume, swing, tempo and tune [69] [70] connecting to a network [121] joining a Link Session [121] Adjusting Plug-in parameters [81] Amplitude Envelope (Sampler) [281] Arrange Grid [410] Arranger definition [62] [778] switching views [56] [667] Arranger View button [56] [667] Arrow buttons [43] ASIO driver [94] Assigning Macro Controls from parameters [529] MIDI CC Messages [529] Pages Pane [529] Assignin
Index Audio Engine button [53] Audio input [485] [578] Audio interface [773] input and output routing [93] selecting inputs and outputs [93] settings [93] Audio Plug-in [302] editor [307] Fade [303] Formant [305] Gate mode [302] [310] Length [305] loading [302] Loop mode [302] [308] Mode [303] Parameters [303] Pitchbend [304] Re-pitch [304] Stretch [305] Tempo [305] Tune [304] Audio Type exporting audio [216] definition [778] B Base key [226] Beat Delay [630] Bit depth exporting audio [217] reducing (e
Index C Color Channel Group [199] Groove properties [233] Pattern [465] Input properties (Audio page) [485] [578] Scene [690] Macro properties [527] Sound [186] Output properties (Audio page) [489] Output properties (Aux page) [494] Color a Pattern Song view [712] Channel icon [59] Compressor [588] Channel Properties [483] Content selector [55] definition [779] Groove [233] Input [485] [578] Macro [527] Output [489] [494] [497] Channel Property selector [59] Control area [52] definition [
Index Controller settings [114] D Controlling external MIDI devices using Macro Controls [529] Delay effects [630] Copy/paste Group [202] Pattern (controller) [468] Pattern content (software) [467] Sound [189] Count-in [420] length [92] CPU meter [53] CPU power [772] Create a Pattern Song view [711] Cue adjusting the output [497] Cut/copy/paste events/notes (controller) [438] events/notes (software) [436] Delete events/notes (software) [434] Group [207] Digital distortion [640] Display [42] Displ
Index Making Sections Unique [707] Dynamics effects [588] E EDIT page controller [739] Edit page (software) [735] Edit section [42] Effect categories delays [630] distortions [638] dynamics [588] filtering [603] modulation [611] spatial and reverbs [617] Effects [567] [587] applying [567] applying to external audio [578] Beat Delay [630] Chorus [611] Compressor [588] creating a send effect [580] definition [62] [779] Distortion:Analog [639] Distortion:Mullholland [638] EQ [603] Filter [605] Flanger [61
Index FM [613] EQ (Filter mode) [284] Freq Shifter [615] Equalizer [603] Gate [591] ERASE button [46] Grain Delay [632] Event Grain Stretch [634] Ice [617] definition [780] Events insert effect [780] cut/copy/paste (controller) [438] Limiter [596] cut/copy/paste (software) [436] loading [567] definition [63] Lofi [640] deleting (software) [434] manipulating [574] editing with the mouse [425] Maximizer [600] moving (controller) [433] Metaverb [619] moving (software) [431] multi-effe
Index MIDI from Pattern [472] Exporting audio G Gate [591] from Patterns [470] Gate mode [310] External audio [485] [578] Grain Delay [632] External Plug-ins [289] Grain Stretch [634] F Groove [233] Favorites [152] Add [152] Remove [152] Show [152] Favorites button [42] File type selecting in Browser [137] File Type selector [55] [126] FILES pane [161] Files tab [54] Filter [605] Filter (Sampler) [284] Filtering effects [603] FIXED VEL button [50] Fixed Velocity [225] Flanger [612] FM [613] FO
Index naming [198] H Output properties (Audio page) [489] Header [51] Output properties (Aux page) [494] Audio Engine button [53] pasting [202] Browser button [52] saving [200] CPU meter [53] saving with Samples [208] definition [781] set up as send effect [581] Display area [53] soloing [229] MASCHINE menu [52] triggering Sounds via MIDI notes [507] Master Volume slider [53] GROUP button [44] NI logo [53] Group index [230] Transport controls [52] Group List [175] Help [776] Group m
Index I K Ice [617] Key [226] Ideas view KEYBOARD button [49] [226] definition [63] [780] Keyboard mode Groups [57] [668] activating [226] Pattern area [57] [668] Scale [226] Scenes [57] [668] using [226] Import MIDI to Pattern [474] IMPORT button [170] Importing your files into the Library [169] Input properties Keyboard mode (controller) [226] quick erasing events [435] selecting notes [430] Keyboard view [60] definition [781] Audio page [485] [578] Insert effect [780] MASCHINE MIKRO
Index L M Latency [94] [772] Macro Control LFO [605] [612] [616] Library [123] importing your own files [169] definition [781] Macro Controls [527] Macro Controls (controller) [528] Library pane [125] Making Sections Unique [707] Library tab [54] MASCHINE Library [123] Limiter [596] MASCHINE menu [52] using [773] Load Group with Patterns [150] Plug-in [264] Loading Projects using the controller [84] MASCHINE software stand-alone or plug-in [86] Master applying effects to [567] definition [
Index MIDI [23] events/notes (software) [431] automation [514] Group [206] connecting external equipment [117] Pattern [469] controlling parameters via [514] Plug-in [272] disabling MIDI Scene Change [513] Scene (software) [687] enabling MIDI Scene Change [513] Section (controller) [701] exporting from Pattern [472] Sections (software) [700] importing to Pattern [474] Sound [192] sending MIDI from Sounds [523] Move events/notes (controller) [433] synchronizing [96] [117] [118] Multi-effe
Index N nudging (controller) [433] Name nudging (software) [433] Group [198] paste (controller) [438] Pattern [463] paste (software) [436] Scene [689] quantizing [439] Sound slot [185] resizing (software) [431] Native Instruments Plug-ins [289] selecting (controller) [430] Native Kontrol Standard [85] transposing (controller) [434] Navigate [82] transposing (software) [432] Pattern Editor [82] NOTES button [44] Song view [82] Nudge events/notes (controller) [433] Navigating Plug-ins [
Index P Pattern [401] Pad Input Mode buttons [49] adding variation [442] Pad input modes [49] adjusting length (controller) [412] PAD MODE button [49] adjusting length (software) [411] Pad mode options color [465] 16 Velocities [225] copying and pasting (controller) [468] Fixed Velocity [225] creating (controller) [460] Pad modes definition [782] Pad modes (controller) [225] Pad section [46] Pad sensitivity [114] Pads [49] recording [417] Parameter creating snapshots using Lock [257] Scale
Index paste content (software) [467] Pattern Manager [455] paste events/notes (controller) [438] Pattern mode [456] paste events/notes (software) [436] Pattern Variation pasting (controller) [468] accessing mode [443] quantizing events/notes [439] Humanize mode [442] recording in Control mode (controller) [417] Random mode [442] recording in Step mode (controller) [422] PERFORM button [44] removing [679] Perform FX renaming [463] selecting and loading [44] rendering audio from [470] Perf
Index Plug-in icon [59] Product selector [55] Plug-in slot Project bypassing [270] definition [64] [783] muting [270] overview and structure [35] Plug-ins External [289] Native Instruments [289] Preferences [88] :Routings [93] Audio page [93] Colors page [114] Default page [97] General page [89] Hardware page [114] saving with Samples [210] Project button [42] [84] Q Quantization definition [783] quantizing after recording [439] Quick Browse [173] Quick Edit buttons [43] Quick Reference [35]
Index R Result list Rear panel [50] in FILES pane [163] [166] REC button [46] in Library pane [127] [143] Record Retrigger Scenes [674] Count-in [420] Retrigger Sections [674] Overdub mode [417] Reverb [621] Replace mode [418] Reverberation effects [617] Record page (software) [724] Redo [71] Reflex [620] Remove a Pattern Song view [712] REX files importing to Sounds [218] Root key setting [769] Routing [567] Rename a Pattern Song view [711] Repeating notes Note Repeat [254] Replace mod
Index S Group [200] Sample Group with Samples [208] definition [783] Plug-in preset [273] exporting with Group [208] Project with Samples [210] exporting with Project [210] Sound [187] importing into Library [169] missing [171] pre-listening [149] [150] Sample Editor [722] definition [783] Sample rate Scale in Keyboard mode [226] Scales 5-Tone [246] Jazz [244] Main [242] exporting audio [217] Major [248] reducing (effect) [640] Minor [249] selecting [94] Modern [247] Sampler Plug-in [2
Index duplicating (controller) [685] [686] creating (software) [694] jumping to another [673] definition [64] [784] naming [689] duplicating (controller) [706] reordering (software) [687] duplicating (software) [705] Retrigger [674] jumping to another [673] selecting (controller) [683] moving (controller) [701] selecting (software) [682] removing (controller) [708] transitions [673] removing (software) [707] unique (software) [688] selecting (controller) [699] [700] Scene bank creating (h
Index Semitones transposing events/notes by [434] Send effect [580] definition [784] Groups [58] [669] Pattern area [58] [670] Remove a Pattern [712] Rename a Pattern [711] Send MIDI Clock [96] [118] Sections [58] [669] Sequencer Select a Pattern [711] definition [784] SHIFT button [46] Slice [743] exporting (software) [751] Timeline [58] [669] Working with Patterns [710] Sound applying effects to [567] Slice page (software) [743] Color [186] Smart Strip [44] copying and pasting [189] Snapsh
Index pasting [189] definition [785] resetting slot [193] Step mode (controller) [422] saving [187] Step sequencer (controller) [422] sending MIDI [523] Step Undo/Redo [71] [72] set up as send effect [581] STOP button [46] soloing [229] Strip Mode buttons [44] Sound List [175] Swing triggering via MIDI notes [507] Sound List [175] Sound slot naming [185] number [230] definition [785] quickly adjusting from the controller (Sound/Group/Project) [70] SWING button [43] [70] Sync to External MI
Index T events/notes (software) [432] Tag Filter [55] using [138] Tags Triggering Scenes via MIDI [513] Troubleshooting [776] Tube saturation [644] assigning Types and Sub-Types [159] TYPES Filter [127] creating [159] U Take Undo/Redo [72] TAP (Metro) button [420] TAP button [46] [235] Undo [71] USB socket [50] Tape saturation [643] V Template Project Variation plug-in [99] accessing mode [443] stand-alone [99] adding to Pattern [442] Tempo Tap [235] TEMPO button [43] Text search [55] u
Index W Z Working with Patterns Zone page Song view [710] software [754] MASCHINE MIKRO - Manual - 807
