Page 1 MASCHINE MK3 MANUAL...
Page 2 The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this...
Page 3 6725 Sunset Boulevard 5th Floor Los Angeles, CA 90028 www.native-instruments.com NATIVE INSTRUMENTS K.K. YO Building 3F Jingumae 6-7-15, Shibuya-ku, Tokyo 150-0001 Japan www.native-instruments.co.jp NATIVE INSTRUMENTS UK Limited 18 Phipp Street London EC2A 4NU www.native-instruments.co.uk © NATIVE INSTRUMENTS GmbH, 2017. All rights reserved.
Page 4: Table Of Contents
Table of Contents Table of Contents Welcome to MASCHINE ..................... 23 MASCHINE Documentation ......................24 Document Conventions ....................... 25 New Features in MASCHINE 2.6.9 ....................27 Basic Concepts ......................28 Important Names and Concepts ....................28 Adjusting the MASCHINE User Interface ..................31 2.2.1 Adjusting the Size of the Interface ................
Page 5 Table of Contents Stand-Alone and Plug-in Mode ....................60 2.5.1 Differences between Stand-Alone and Plug-in Mode ..........60 2.5.2 Switching Instances ....................61 2.5.3 Controlling Various Instances with Different Controllers ........... 62 Preferences ..........................63 2.6.1 Preferences – General Page ..................64 2.6.1.1 Usage Data Tracking .................67 2.6.2...
Page 6 Overview of the LIBRARY Pane ................... 105 3.2.2 Selecting or Loading a Product and Selecting a Bank from the Browser ....110 3.2.2.1 Browsing by Product Category Using MASCHINE MK3 ........115 3.2.2.2 Browsing by Product Vendor Using MASCHINE MK3 ........116 3.2.3 Selecting a Product Category, a Product, a Bank, and a Sub-Bank ......
Page 7 Table of Contents 3.5.3 The TYPES and MODES Pages ..................152 3.5.4 The PROPERTIES Page ....................154 Loading and Importing Files from Your File System ..............155 3.6.1 Overview of the FILES Pane ..................155 3.6.2 Using Favorites ......................157 3.6.3 Using the Location Bar ....................
Page 8 Table of Contents 4.3.1 Creating Groups ......................194 4.3.2 Loading Groups ......................196 4.3.3 Renaming Groups ...................... 197 4.3.4 Changing the Group’s Color ..................197 4.3.5 Saving Groups ......................199 4.3.6 Copying and Pasting Groups ..................201 4.3.7 Reordering Groups ..................... 204 4.3.8 Deleting Groups ......................
Page 9 Table of Contents 5.4.2 Choke All Notes ......................240 5.4.3 Groove ........................241 5.4.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller ........243 5.4.5 Tap Tempo ......................... 247 Performance Features ......................... 248 5.5.1 Overview of the Perform Features ................248 5.5.2 Selecting a Scale and Creating Chords ..............
Page 10 Page 4: Modulation ....................300 6.2.5 Page 5: LFO ....................... 302 6.2.6 Page 6: Velocity / Modwheel ..................304 Using Native Instruments and External Plug-ins ................ 306 6.3.1 Opening/Closing Plug-in Windows ................306 6.3.2 Using the VST/AU Plug-in Parameters ............... 309 6.3.3...
Page 11 Table of Contents Working with Patterns ....................319 Pattern Basics ..........................319 7.1.1 Pattern Editor Overview ..................... 320 7.1.2 Navigating the Event Area ..................326 7.1.3 Following the Playback Position in the Pattern ............327 7.1.4 Jumping to Another Playback Position in the Pattern ..........329 7.1.5 Group View and Keyboard View ..................
Page 12 Table of Contents 7.4.7 Quantizing Events/Notes ................... 377 7.4.8 Quantization While Playing ..................379 7.4.9 Doubling a Pattern ....................380 7.4.10 Adding Variation to Patterns ..................381 Recording and Editing Modulation ..................... 384 7.5.1 Which Parameters Are Modulatable? ................. 386 7.5.2 Recording Modulation ....................
Page 13 Table of Contents 8.1.1 Sending External Audio to Sounds ................429 8.1.2 Configuring the Main Output of Sounds and Groups ..........434 8.1.3 Setting Up Auxiliary Outputs for Sounds and Groups ..........439 8.1.4 Configuring the Master and Cue Outputs of MASCHINE ..........443 8.1.5 Mono Audio Inputs .....................
Page 14 Panel for the Sampler ....................507 9.4.4 Custom Panels for Native Instruments Plug-ins ............510 9.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) .... 514 Controlling Your Mix from Your Controller ................... 517 9.5.1 Navigating Your Channels in Mix Mode ..............517 9.5.2...
Page 15 Table of Contents 10.2.6 Kick – Snappy ......................538 10.2.7 Kick – Bold ........................ 540 10.2.8 Kick – Maple ......................542 10.2.9 Kick – Push ....................... 543 10.3 The Snares ..........................545 10.3.1 Snare – Volt ....................... 547 10.3.2 Snare – Bit ........................ 549 10.3.3 Snare –...
Page 16 Table of Contents 10.6 The Percussions .......................... 587 10.6.1 Percussion – Fractal ....................589 10.6.2 Percussion – Kettle ....................592 10.6.3 Percussion – Shaker ....................594 10.7 The Cymbals ..........................598 10.7.1 Cymbal – Crash ......................600 10.7.2 Cymbal – Ride ......................602 11 Using the Bass Synth ....................
Page 17 Table of Contents 13 Effect Reference ......................642 13.1 Dynamics ............................ 643 13.1.1 Compressor ....................... 643 13.1.2 Gate ........................... 647 13.1.3 Transient Master ....................... 651 13.1.4 Limiter ........................653 13.1.5 Maximizer ........................657 13.2 Filtering Effects .......................... 661 13.2.1 EQ ..........................661 13.2.2 Filter ..........................
Page 18 Table of Contents 13.5 Delays ............................692 13.5.1 Beat Delay ......................... 692 13.5.2 Grain Delay ........................ 695 13.5.3 Grain Stretch ......................698 13.5.4 Resochord ........................700 13.6 Distortion Effects ........................702 13.6.1 Distortion ........................702 13.6.2 Lofi ..........................703 13.6.3 Saturator ........................
Page 19 Table of Contents 14.2.2 Creating Scenes ......................740 14.2.3 Assigning and Removing Patterns ................741 14.2.4 Selecting Scenes ....................... 744 14.2.5 Deleting Scenes ......................745 14.2.6 Creating and Deleting Scene Banks ................745 14.2.7 Clearing Scenes ......................745 14.2.8 Duplicating Scenes ....................746 14.2.9 Reordering Scenes .....................
Page 20 Table of Contents 14.3.11 Clearing Sections ...................... 772 14.3.12 Creating and Deleting Section Banks ................ 773 14.3.13 Enabling Auto Length ....................774 14.3.14 Looping ........................775 14.3.14.1 Setting the Loop Range in the Software .............775 14.3.14.2 Setting the Loop Range Using the Controller ..........776 14.4 Playing with Sections .........................
Page 21 Table of Contents 15.4.3.2 Delete All Slices ..................819 15.4.4 Manually Adjusting Your Slices ................. 819 15.4.5 Applying the Slicing ....................825 15.5 Mapping Samples to Zones ......................831 15.5.1 Opening the Zone Page ....................832 15.5.2 Zone Page Overview ....................833 15.5.3 Selecting and Managing Zones in the Zone List ............
Page 22 Table of Contents 16.3 Special Tricks ..........................860 16.3.1 Changing Pattern Length for Variation ..............860 16.3.2 Using Loops to Cycle Through Samples ..............860 16.3.3 Using Loops to Cycle Through Samples ..............860 16.3.4 Load Long Audio Files and Play with the Start Point ..........860 17 Troubleshooting ......................
Page 23: Welcome To Maschine
Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go- ing! —The MASCHINE team at Native Instruments. MASCHINE - Manual - 23...
Page 24: Maschine Documentation
We recommend that you follow along with these instructions while the respective appli- cation is running on your computer. Other Online Resources: 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: ▪...
Page 25: Document Conventions
Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized ver- sions of these documents. Document Conventions This section introduces you to the signage and text highlighting used in this manual. This man- ual uses particular formatting to point out special facts and to warn you of potential issues.
Page 26 Welcome to MASCHINE Document Conventions ▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display. ▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.
Page 27: New Features In Maschine 2.6.9
New Features in MASCHINE 2.6.9 The following new features have been added to MASCHINE: ▪ Support for the new MASCHINE MK3 Hardware ▪ Support for KOMPLETE KONTROL S49 and S61 MK2 hardware ▪ Revised User Interface for MASCHINE STUDIO...
Page 28: Basic Concepts
MASCHINE’s factory library is already completely tagged, as well as factory libraries of any Native Instruments prod- ucts installed on your computer. You can also import your own files to the Library and tag them as well.
Page 29 Basic Concepts Important Names and Concepts Project A Project contains all data needed for a song: Groups with their Patterns, all Scenes and all settings, modulation, effects, routings, Sounds and Samples. It’s like a snapshot of the entire state of MASCHINE. Please read the MASCHINE Getting Started for a complete overview of the MASCHINE Project structure.
Page 30 MASCHINE comes with many different effects in the form of Internal Plug-ins. You may also use Native Instruments or third-party VST/AU effect plug-ins. Each Sound, each Group, and the Master can hold any number of effects that will be applied as insert effects. The flexible routing system also allows you to create send effects, multi-effects, and side-chains.
Page 31: Adjusting The Maschine User Interface
Basic Concepts Adjusting the MASCHINE User Interface details on using effects in MASCHINE, refer to chapter ↑12, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑13, Effect Reference. Please refer to chapter ↑18, Glossary at the end of this Manual for more definitions! Adjusting the MASCHINE User Interface...
Page 32: Switching Between Ideas View And Arranger View
Basic Concepts Adjusting the MASCHINE User Interface The View submenu in the MASCHINE menu. Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]). 2.2.2 Switching between Ideas View and Arranger View At any time you can quickly switch between the Ideas view and the Arranger view, using the Arranger View button.
Page 33: Showing/Hiding The Browser
Basic Concepts Adjusting the MASCHINE User Interface For more information about Ideas view and Arranger view see ↑14.3, Using Arranger View. Switching between Ideas View and Arranger View using the Controller On your controller: Press SHIFT SCENE to switch between the Ideas view and Arranger view. ►...
Page 34: Showing/Hiding The Control Lane
Basic Concepts Adjusting the MASCHINE User Interface Minimizing/maximizing the Mixer. 2.2.5 Showing/Hiding the Control Lane When MASCHINE is in Arrange view, you can show/hide the Control Lane under the Pattern Editor: Click the arrow button on the bottom left of the Pattern Editor to show and hide the Con- ►...
Page 35: Common Operations
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations. 2.3.1 Using the 4-Directional Push Encoder The 4-Directional Push Encoder (referred to as the Encoder) combines the functionalities of a conventional joystick, of a button, and of a continuous encoder.
Page 36: Pinning A Mode On The Controller
Basic Concepts Common Operations The Encoder situated to the left of the VOLUME, SWING TEMPO buttons. Depending on the menu or context, the available actions differ: ▪ The displays are navigated by moving the 4-D encoder in a direction indicated by the sur- rounding LEDs.
Page 37: Undo/Redo
Basic Concepts Common Operations To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN, ► etc.) + Button 1 above the left display. Now the mode is always pinned when you select it. → To unpin a mode (i.e. make it a temporary mode again), press its mode button + Button ►...
Page 38 Basic Concepts Common Operations ▪ Step Undo allows you to cancel your last single action. ▪ Take Undo allows you to cancel your last group of actions. Step Undo Step Undo/Redo is the classic undo/redo found in most applications. It cancels or re-executes each single action you have performed.
Page 39: List Overlay For Selectors
Basic Concepts Common Operations Undo/Redo on the Controller Both Step Undo and Take Undo are also available on your controller: On the MASCHINE hardware controller, perform the Take Undo operation by pressing ► SHIFT + pad (UNDO). To perform the Take Redo operation, press SHIFT + pad 2 (RE-...
Page 40: Zoom And Scroll Overlays
Basic Concepts Common Operations When you touch the Knob of that parameter, a list appears above the parameter on the display of your controller. This list shows you at a glance all possible values for the parameter you are touching along with the value currently selected, making the value selection much more intui- tive.
Page 41: Focusing On A Group Or A Sound
Basic Concepts Common Operations The zooming and scrolling functions are indicated, when available, by little icons that appear as overlays above the relevant Knobs as soon as you touch any of them. This way, in case of doubt, a simple touch on any Knob below the right display will indicate if some zooming and scrolling functions are available.
Page 42 Basic Concepts Common Operations Setting the Focus on a Group To put a Group in focus, click this Group in the Group List of the Arranger: ► The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of →...
Page 43 Basic Concepts Common Operations The focused Group is highlighted and the Pattern Editor show its content. If the desired Group does not appear in the Group List, use the scroll bar at the right end of the Arranger or turn your mouse wheel while hovering the Arranger to display any hidden Groups.
Page 44 Basic Concepts Common Operations 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.
Page 45 Basic Concepts Common Operations If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden Sounds. You can also select multiple Sounds at once to apply changes to all of them.
Page 46: Switching Between The Master, Group, And Sound Level
Basic Concepts Common Operations 2.3.7 Switching Between the Master, Group, and Sound Level At any time you can quickly switch the Control area between the parameters of the Master, the focused Group, and the focused Sound. Click the desired tab to switch the display of the Control area. Click the MASTER, GROUP SOUND...
Page 47: Navigating Channel Properties, Plug-Ins, And Parameter Pages In The Control Area
Basic Concepts Common Operations 2.3.8 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area We describe here how to display/edit any Plug-in parameters or Channel properties located in any Sound, Group or the Master. To select a particular Plug-in or a particular set of Channel properties, you first need to display the parameters of the Master, the desired Group or Sound.
Page 48 Basic Concepts Common Operations Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selec- tor to select that set of Channel properties. The selected button is highlighted and the parameters of the selected Channel properties → appear in the Parameter area (the right and biggest part of the Control area).
Page 49 Basic Concepts Common Operations In the software the names of the available pages are displayed at the top of the Parameter area. The name of the page currently displayed is highlighted. Click the desired page name at the top of the Parameter area to show the corresponding ►...
Page 50 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.
Page 51 Basic Concepts Common Operations Use the Page buttons left of the displays to navigate through the Parameter pages of the selected Channel properties or Plug-in: Moreover, if there is another page available to the left or to the right of the current page, the corresponding Page button will be half lit on your controller.
Page 52: Extended Navigate Mode On Your Controller
Basic Concepts Common Operations Using the Navigate Mode Alternatively, you can also navigate Channel properties and Plug-ins along with their Parameter pages via the Navigate mode of your controller: Press SHIFT VARIATION to enter Navigate mode (or pin it by pressing NAVIGATE Button 1).
Page 53 Basic Concepts Common Operations The Navigate mode has two distinct submodes: ▪ The default Software Navigation mode lets you adjust the look of the software interface: You can show/hide specific elements and change zoom/scroll settings. ▪ The Page Navigation mode allows you to navigate Channel properties, Plug-ins along with their Parameter pages.
Page 54 Basic Concepts Common Operations Action Shortcut Pattern Editor Scroll left/right Turn Knob 6 or press pad Pattern Editor Scroll up/down (Keyboard Turn Knob 7 or press pad mode only) You can quickly switch the software between Ideas view and Arranger view by pressing SHIFT SCENE on your controller.
Page 55: Using Two Or More Hardware Controllers
Basic Concepts Common Operations 2.3.9 Using Two or More Hardware Controllers If two or more MASCHINE controllers of different types (MASCHINE STUDIO, MA- SCHINE MK3, MASCHINE MK2, MASCHINE MIKRO MK2, MASCHINE, MASCHINE MIKRO, and MASCHINE JAM) are connected to your computer, only one controller can be used to con- trol the MASCHINE software at a time.
Page 56: Touch Auto-Write Option
Basic Concepts Common Operations ▪ 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. ▪ 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.
Page 57 Basic Concepts Common Operations Enabling/Disabling Touch Auto-Write The Touch Auto-write option can be enabled or disabled in the Hardware page of the Preferen- panel: The Touch Auto-write check box in the Hardware page of the Preferences panel. To enable or disable the Touch Auto-write option, click the Touch Auto-write check box in ►...
Page 58: Native Kontrol Standard
Basic Concepts Native Kontrol Standard Example of Use Touch Auto-write can be very handy if a parameter already has some modulation recorded in the Pattern, and you want to re-record modulation for this parameter, this time at a constant value: ▪...
Page 59 Basic Concepts Native Kontrol Standard NKS instruments are automatically added to your Library when you start MASCHINE or KOM- PLETE KONTROL for the first time after installing the instrument (except KONTAKT instru- ments with NKS support, see below). The folders containing the preset files for NKS support can be managed in the Factory pane on the Library page of the Preferences (see section ↑2.6.5, Preferences –...
Page 60: Stand-Alone And Plug-In Mode
Basic Concepts Stand-Alone and Plug-in Mode Stand-Alone and Plug-in Mode You can run the MASCHINE software as a stand-alone application or integrate it into your fa- vorite host by loading it as a plug-in. The MASCHINE software is available in the VST, Audio Unit, and AAX plug-in formats.
Page 61: Switching Instances
MIDI interfaces is managed by the host — the MASCHINE plug- in only communicates with the host. Native Instruments’ Online Knowledge Base provides how-tos that will help you route the MASCHINE plug-in to multiple tracks/outputs in the major hosts: ▪...
Page 62: Controlling Various Instances With Different Controllers
Basic Concepts Stand-Alone and Plug-in Mode To select your controller from a particular MASCHINE instance, click the Connect button ► in the MASCHINE Header of that instance. Click the Connect button to connect the controller to that instance. Switching Instances using the Controller To switch from one MASCHINE instance to another: Press SHIFT...
Page 63: Preferences
Basic Concepts Preferences Preferences Preferences panel lets you specify various settings for MASCHINE. To open the Preferences panel, click Preferences… in the Maschine menu (MacOS) or ► File menu (Windows) of the Application Menu Bar, or in the File submenu of the MA- SCHINE menu: Preferences…...
Page 64: Preferences - General Page
Basic Concepts Preferences ▪ Colors: see ↑2.6.8, Preferences – Colors Page. 2.6.1 Preferences – General Page General page holds a few global settings. To display the General page click the General tab on the left of the Preferences panel. ► The Preferences –...
Page 65 Basic Concepts Preferences Setting Description Startup Reload Last Project If this option is checked, the last Project you worked on will automatically load the next time you start MASCHINE. Recording Audio Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved.
Page 66 Basic Concepts Preferences Setting Description Default MIDI Input Mode MASCHINE lets you play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound. In addition, you can select that a Sound receives no MIDI input, and also define the default setting for MIDI input by selecting Default MIDI Input Mode...
Page 67: Usage Data Tracking
MASCHINE software. However, we encourage all users to keep Data Tracking enabled as it pro- vides a valuable tool for understanding the performance of Native Instruments applications when they are used in real life situations. The data sent to Native Instruments is one hundred percent anonymous and will not affect performance.
Page 68: Preferences - Audio Page
Basic Concepts Preferences For more detailed information about Usage Data Tracking, please refer to the following Knowl- edge Base article on the Native Instruments website: https://support.native-instruments.com/hc/en-us/articles/209545029 To enable or disable Usage Tracking: Open the General page of the Preferences by clicking Preferences… in the Maschine menu (MacOS) or File menu (Windows) of the Application Menu Bar, or in the File sub- menu of the MASCHINE menu.
Page 69 Basic Concepts Preferences For information on audio configuration and basic setup scenarios, please refer to chap- ter 1 of the MASCHINE MK3 Getting Started Guide available from the Native Instru- ments website. Routing section allows you to configure the connections between the virtual inputs/outputs of MASCHINE and the physical inputs/outputs of your audio interface.
Page 70 Basic Concepts Preferences Setting Description Interface Driver Select your audio driver here. Device This allows you to choose from the available devices if you have connected more than one audio interface. Status This shows you whether your audio interface is currently running.
Page 71: Preferences - Midi Page
Basic Concepts Preferences Setting Description Inputs By clicking Inputs, you can define which inputs on your audio interface should be used for the four stereo inputs of MASCHINE. Select the inputs of your audio interface on the right column by clicking the fields: you will be presented with a drop-down menu with all the available Inputs.
Page 72 Basic Concepts Preferences The Preferences – MIDI page. MASCHINE - Manual - 72...
Page 73 Basic Concepts Preferences Setting Description Sync Mode Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock. This could be hardware such as a drum machine, another groovebox, or even another software sequencer.
Page 74: Preferences - Default Page
Basic Concepts Preferences Setting Description Inputs Clicking Inputs displays a list of all the available MIDI inputs of your system. You can activate/deactivate each input by clicking the fields in the Status column, which displays the current status of the corresponding port.
Page 75 Basic Concepts Preferences The Preferences – Default page. MASCHINE - Manual - 75...
Page 76 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.
Page 77: Preferences - Library Page
Basic Concepts Preferences Setting Description Duplicate Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated. The new Scene and Patterns are now completely independent from the originals.
Page 78 Basic Concepts Preferences At the top of the page, the Factory User buttons allow you to switch between the Factory pane and the User pane. Factory Pane To display the Factory pane, click the Factory button at the top of the Library page.
Page 79 Basic Concepts Preferences Factory pane shows all factory libraries available. These includes the MASCHINE Factory Library, libraries imported from other NI products, as well as installed MASCHINE EXPAN- SIONS. These libraries will appear in the Factory view of the Browser’s Library pane.
Page 80 Basic Concepts Preferences The Preferences panel – the Library page’s User pane. User pane shows all user libraries currently used. These include MASCHINE’s standard user directory as well as any other user directory you might have defined. These libraries will appear in the User view of the Browser’s Library pane.
Page 81 User Content Folder Included in MASCHINE’s User Paths Products from Native Instruments will store user-generated content in a centralized User Con- tent folder. In MASCHINE this User Content folder is automatically added to the list of user...
Page 82 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 83 Basic Concepts Preferences Click CANCEL in the Updating Database dialog to interrupt the scan. 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.
Page 84 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 MA- SCHINE Library. To do this: Click at the bottom of the pane. A folder selection dialog opens up.
Page 85: Preferences - Plug-Ins Page
Native Instruments and External Plug-ins. When a Native Instruments or External Plug-in is disabled, it will not be available for loading (from the various Plug-in menus in the software and from the Plug-in Browser on your control- ler).
Page 86 Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane. MASCHINE - Manual - 86...
Page 87 Basic Concepts Preferences Element Description Plug-in column Lists all available VST/AU plug-ins from the directories specified in 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.
Page 88 Use NI Audio Units checkbox. Check this box to include the Audio Units (AU) versions of your Native Instruments plug-ins in the soft- ware’s Plug-in menus and in the controller’s Plug-in Browser: ▪ If this checkbox is disabled (default setting), the AU versions of your Native Instruments plug-ins are still listed in the list above but they are disabled (checkbox unchecked): These Plug-ins won’t appear in the Native Instruments submenu of the Plug-in menus (software)
Page 89 Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. 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. button Click to add plug-in directories.
Page 90: Preferences - Hardware Page
To display the Hardware page click the Hardware tab on the left of the Preferences panel. ► The settings of connected Native Instruments controllers can be selected and adjusted. → MASCHINE - Manual - 90...
Page 91 Basic Concepts Preferences The Preferences panel – Hardware page. MASCHINE - Manual - 91...
Page 92 Basic Concepts Preferences Setting Description Controller The Controller menu allows you to select a connected device and modify its settings. You can have two devices simultaneously focused on a MASCHINE instance: a controller from the MASCHINE family and a KOMPLETE KONTROL S- SERIES keyboard.
Page 93: Preferences - Colors Page
Basic Concepts Preferences Setting Description Touch Auto-write Use the Touch Auto-write checkbox to enable or disable the Touch Auto-write option. Touch Auto-write can be very useful if you want to re-record modulation for a parameter, at a constant value. With Touch Auto-write enabled, you only need to keep a finger on a...
Page 94 Basic Concepts Preferences The Preferences panel – Colors page. MASCHINE - Manual - 94...
Page 95 Basic Concepts Preferences Setting Description Scene Default Selects a default color for your Scenes. In the menu you can choose the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color.
Page 96: Integrating Maschine Into A Midi Setup
Basic Concepts Integrating MASCHINE into a MIDI Setup Integrating MASCHINE into a MIDI Setup You can quickly integrate MASCHINE into a MIDI setup. You can use MIDI in MASCHINE in various ways. Notably: ▪ You can synchronize a MIDI Clock signal between MASCHINE and other MIDI devices: ↑2.7.2, Sync to External MIDI Clock ↑2.7.3, Send MIDI Clock.
Page 97: Sync To External Midi Clock
Basic Concepts Integrating MASCHINE into a MIDI Setup If MASCHINE is running as a stand-alone application, activate the corresponding MIDI in- put and/or output(s) of your MASCHINE controller in the MIDI page of the Preferences panel (see ↑2.6.3, Preferences – MIDI Page).
Page 98: Send Midi Clock
Basic Concepts Integrating MASCHINE into a MIDI Setup If you want to configure MASCHINE to react to other MIDI messages than MIDI Clock, in particular if you want to control MASCHINE notes and parameters via MIDI, please refer to section ↑8.2, Using MIDI Control and Host Automation, where this is described in detail.
Page 99: Syncing Maschine Using Ableton Link
Basic Concepts Syncing MASCHINE using Ableton Link Syncing MASCHINE using Ableton Link Ableton Link is a protocol that synchronizes beat, phase and tempo of Link-enabled applica- tions 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.
Page 100 Basic Concepts Syncing MASCHINE using Ableton Link After clicking the Play button, playback will resume on the downbeat once the moving bar within the LINK button is filled. The first participant to join the session sets the initial tempo, from then on any participant in the session can change the tempo in their respective applica- tion.
Page 101: Using A Pedal With The Maschine Controller
Using a Pedal with the MASCHINE Controller Using a Pedal with the MASCHINE Controller Your MASCHINE MK3 Controller provides a pedal input in the form of 1/4" socket on its rear panel. The pedal input on the rear panel of your controller.
Page 102 Basic Concepts File Management on the MASCHINE Controller To access File mode: Press the FILE button. ► The File menu is displayed. All File menu options are explained in the table below. → File Management Option Description Creates a new Project file. If you already have a project open, you will be prompted to save or discard it, after which a new Project will be created.
Page 103: Browser
MASCHINE, but also any other factory content (e.g., from MASCHINE EXPANSIONS or other Native Instruments products) as well as your own user content. To help you find the right file quickly and efficiently, the Library implements various techni- ques that go far beyond the classic folder structure of your operating system.
Page 104: Browsing The Library Vs. Browsing Your Hard Disks
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 fold- ers whose paths are listed in the...
Page 105: Searching And Loading Files From The Library
Browser Searching and Loading Files from the Library Click the desired tab to show the corresponding pane of the Browser. LIBRARY pane is described in section ↑3.2, Searching and Loading Files from the Library, and the FILES tab is described in section ↑3.6, Loading and Importing Files from Your File System.
Page 106 Browser Searching and Loading Files from the Library The elements of the LIBRARY pane. (1) LIBRARY tab: Click the LIBRARY tab to open the LIBRARY pane described here. (2) File Type selector: This contains six icons, each representing the different files types of MA- SCHINE.
Page 107 Browser Searching and Loading Files from the Library (3) Content selector: Click the icon (on the left) to select factory content or the User icon (on the right) to select user content instead. Only the files of the content selected here will be dis- played in the Result list (8).
Page 108 Result list (8). The above steps are described in detail in the following sections. 3.2.1.1 Browsing the Library on the MASCHINE MK3 Controller Press BROWSER to enter or leave the Browser.
Page 109 Browser Searching and Loading Files from the Library The Browser on your controller. On the displays of your controller, the Browser is organized as follows: ▪ The left display allows you to narrow your search by selecting the file type, the content type (factory or user files), as well as a product category, a product, a bank, and a sub-bank.
Page 110: Selecting Or Loading A Product And Selecting A Bank From The Browser
Browser Searching and Loading Files from the Library Move the 4-D encoder left/right to select the field you want to select. The selected field is indicated by thin brackets: Turn the 4-D encoder to change the value in the selected field. Move the 4-D encoder up/down to scroll the Results list.
Page 111 Browser Searching and Loading Files from the Library Selecting a Product Category Click on the Product selector header to open it. ► The Product selector opens up, showing you all products available in your MASCHINE Li- → brary. The opened Product selector. (1) Product selector header: The header shows the selected product—if there is no selection it shows a generic label (All...
Page 112 Browser Searching and Loading Files from the Library Other ▪ Vendor is selected in the Category Vendor selector, the Product list is sorted by the names of the manufacturers. To select a product and show only the preset files associated with it, click on the product ►...
Page 113 Browser Searching and Loading Files from the Library Selecting a Bank When you select specific products in the Product list (see description above), an additional Bank menu appears under the closed Product selector: The Bank menu showing All Banks for POLYPLEX The Bank menu allows you to select a particular bank of files for the selected product (POLY- PLEX in the picture above).
Page 114 Browser Searching and Loading Files from the Library To select a particular bank for the selected product, click the Bank menu under the prod- ► uct icon and choose a bank from the available entries. Upon your selection the Bank menu closes and displays the selected bank. The tag filter →...
Page 115: Browsing By Product Category Using Maschine Mk3
3.2.2.1 Browsing by Product Category Using MASCHINE MK3 The MASCHINE Browser can filter your search by product category. To filter products by Category in the Browser using the controller:...
Page 116: Browsing By Product Vendor Using Maschine Mk3
Browser Searching and Loading Files from the Library 3.2.2.2 Browsing by Product Vendor Using MASCHINE MK3 The MASCHINE Browser can filter your search by product category. To filter products by Category in the Browser using the controller: Press BROWSER to show the Browser.
Page 117 Browser Searching and Loading Files from the Library Selecting a Product or a Product Category Click the Product selector to open it. ► The Product selector opens up and displays the following: → The opened Product selector (for Instrument presets). MASCHINE - Manual - 117...
Page 118 Native Instruments effect/instrument, the icon for that product might not be available in the Product selector when the factory content is selected in the Content selector — to prevent this, make sure that all your Native Instruments prod- ucts are up to date.
Page 119 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 corre- →...
Page 120 Browser Searching and Loading Files from the Library To select a particular bank for the selected product, click the Bank menu under the prod- ► uct icon and choose a bank from the available entries. Upon your selection the Bank menu closes and displays the selected bank. The tag filter →...
Page 121: Selecting A Product Category, A Product, A Bank, And A Sub-Bank On The
Internal Plug-in for which the preset has been saved (e.g., Sampler, Kick, Flanger, etc.). ◦ Presets for Native Instruments Plug-ins: The product is set to the particular Native In- struments effect or instrument. The bank and sub-bank will vary with each Native In- struments product.
Page 122: Selecting A File Type
Browser Searching and Loading Files from the Library Selecting a product category, a product, a bank, and a sub-bank on your controller. Additionally the left display shows you the name and icon of all products corresponding to the selected product category (Knob 1). The selected product (Knob 2) is highlighted. If there are more than six products available, a scroll bar appears on the right of the left dis- play.
Page 123: Choosing Between Factory And User Content
Browser Searching and Loading Files from the Library (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Samples: (.wav, .aiff) Click the desired icon in the File Type selector to display only the files of that type in the ►...
Page 124: Selecting Type And Mode Tags
Browser Searching and Loading Files from the Library At the top right of the left display, press Button 4 (USER) to browse the user content ► (button lit and USER label highlighted) or the factory content (button off and USER label not highlighted).
Page 125 Browser Searching and Loading Files from the Library Tags for Projects, Groups, Sounds, and Samples: 3 Type Levels For Projects, Groups, Sounds, and Samples, tags are structured into three hierarchical levels globally called Types. You can select them via the TYPES filter: ▪...
Page 126 Browser Searching and Loading Files from the Library By selecting any of these tags, say, Acoustic, you will narrow your search to this particular Sub-Type of shakers: ▪ Now imagine that you have loaded an acoustic shaker Sample and want to find a Sample for another drum instrument, e.g., a tom: You leave the Drums tag selected at the top level...
Page 127 Browser Searching and Loading Files from the Library Tags for Instrument and Effect Presets: 2 Type Levels and 1 Mode Level For Instrument and Effect presets, tags can be of two kinds: Type or Mode. You can select them via the TYPES MODES filter, respectively:...
Page 128 Click the triangle again to reopen the sections. Highlighted triangle next to the Attributes (TYPES and MODES). 3.2.6.1 Selecting Type and Mode Tags on the MASCHINE MK3 Controller On your controller in Browse mode: MASCHINE - Manual - 128...
Page 129: List And Tag Overlays In The Browser
Browser Searching and Loading Files from the Library Turn Knob 5–7 under the right display to select tags at the three levels of the tag filter. ► Turn a Knob at full left to remove any particular selection at this level (i.e. to select all items at this level).
Page 130 Browser Searching and Loading Files from the Library The left display, here when browsing Effects: Selecting the Creative Effects category via Knob 1 (on the left), the 2.0 Library bank via Knob 3 (in the middle), and all sub-banks via Knob 4 (on the right). Like in the software, each of these lists includes an All…...
Page 131: Performing A Text Search
Browser Searching and Loading Files from the Library 3.2.8 Performing a Text Search In the Search field you can enter your search query. The Search field. Click in the Search field and type the desired text to limit the results to files containing ►...
Page 132 Browser Searching and Loading Files from the Library The Result list showing kicks from the MASCHINE Library. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. The Result list allows you to: ▪...
Page 133 Browser Searching and Loading Files from the Library You can also select multiple files in the Result list in order to process them all at once. To select adjacent files in the list, do the following: Hold [Shift] on your computer keyboard and click two files in the Result list to select ►...
Page 134 Browser Searching and Loading Files from the Library ▪ You can load the file into a Group or a Sound slot that is not currently focused, or into a Plug-in slot that is not selected. ▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new Zone will be created for that Sample.
Page 135 Browser Searching and Loading Files from the Library ▪ When dragging several Instrument presets, you have the same options as when dragging sev- eral Sounds (see above). Each Instrument preset will be loaded into in its own Sound, and the Sound will take the name of the preset. ▪...
Page 136: Additional Browsing Tools
Browser Additional Browsing Tools Right-click ([Ctrl]-click on macOS) the desired user file and select Delete from the context menu. If you want to delete several files at once, first select them as described above, and right-click ([Ctrl]-click on macOS) ([Ctrl]-click on macOS) any of them. A warning dialog opens to inform you that the file will be not only removed from the MA- SCHINE Library but also deleted from your hard disk.
Page 137: Loading The Selected Files Automatically
Browser Additional Browsing Tools EDIT button (LIBRARY pane) or IMPORT button (FILES pane) at the far right of the Control bar allows you to edit the attributes of the files selected in the Result list above (in the FILES pane, these are the files being imported to the Library, whereas in the LIBRARY pane these are files already in the Library).
Page 138: Auditioning Instrument Presets
Browser Additional Browsing Tools Autoload is not available when browsing Projects. Autoload is not available when browsing Samples with Prehear enabled — see section ↑3.3.3, Auditioning Samples. When Prehear is enabled, Button 5 and 6 select the previ- ous/next Sample in the result list without loading it automatically. 3.3.2 Auditioning Instrument Presets When you are browsing Instrument presets, a Prehear button and Prehear Volume slider appear...
Page 139: Auditioning Samples
Browser Additional Browsing Tools Auditioning Instrument Presets using the Controller When browsing Instrument presets on your controller: Press SHIFT + Button 8 (PREHEAR) to enable/disable the Prehear function. ► When Prehear is enabled: ▪ The Instrument preset selected in the result list can be triggered from the pad of the fo- cused Sound or from any pad without being loaded into that Sound.
Page 140 Browser Additional Browsing Tools When Prehear is enabled, you can directly hear Samples as you select them in the Result list of the LIBRARY pane or FILES pane. Drag the Prehear Volume slider next to the Prehear button to adjust the volume of the ►...
Page 141: Loading Groups With Patterns
Browser Additional Browsing Tools 3.3.4 Loading Groups with Patterns Every Group from the factory library includes a set of Patterns that illustrate possible uses of that Group. Similarly, when you save a Group of your own to the Library for later use, all Pat- terns you have created for that Group will be saved with the Group.
Page 142: Displaying File Information
Browser Additional Browsing Tools Loading Groups with Routing using the Controller Press SHIFT + Button 3 ROUTING) to include or exclude audio and MIDI routing when ► Groups are loaded. When the option is enabled (Button 3 lit and + ROUTING label highlighted), Groups are →...
Page 143: Using Favorites In The Browser
Browser Using Favorites in the Browser Using Favorites in the Browser Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently used items. This includes Projects, Groups, Sounds, Instrument presets, Effect presets, and Samples. Any of these items can be assigned as a Favorite. The Favorites serve as an addition- al filter in the Browser.
Page 144 Browser Using Favorites in the Browser The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass. To activate the Favorites filter: MASCHINE - Manual - 144...
Page 145 Browser Using Favorites in the Browser Click on the Filter Favorites control next to the search field to filter the results by Favor- ites: 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:...
Page 146 Browser Using Favorites in the Browser 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.
Page 147 Browser Using Favorites in the Browser Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view and add Favorites directly using your controller.
Page 148 Browser Using Favorites in the Browser Press the Button 7 to activate the Favorites filter. To filter the list of Favorites, use knobs 5 to 8. The Favorites filter is now activated and the results list shows all Favorites that match the →...
Page 149: Editing The Files' Tags And Properties
Browser Editing the Files’ Tags and Properties The item is added to the Favorites, indicated by the Favorite icon next to its name: → Removing an Item from the Favorites To remove an item from the Favorites use the following instructions: Press the BROWSER button.
Page 150 Browser Editing the Files’ Tags and Properties changes to the selected files, or click the lit EDIT button again to cancel you changes and close the Attribute Editor. See section ↑3.2, Searching and Loading Files from the Library for more information on the LIBRARY pane.
Page 151: The Bank Page
Browser Editing the Files’ Tags and Properties You can adjust the overall height of the Attribute Editor by dragging its upper border. The number of items selected appears in yellow in the upper left corner of the Attribute Editor. Displaying Attributes of Factory Files When browsing in the LIBRARY pane, if the files selected in the Result list are factory files...
Page 152: The Types And Modes
Browser Editing the Files’ Tags and Properties 3.5.3 The TYPES and MODES Pages TYPES MODES pages display and let you modify the tags assigned to the file(s) se- lected in the Result list above. ▪ The TYPES page is available for all file types when opening the Attribute Editor both from LIBRARY pane and the FILES...
Page 153 Browser Editing the Files’ Tags and Properties Displaying Tags ▪ In both TYPES MODES pages, tags assigned to the selected files are marked with a check mark right of their name: ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right.
Page 154: The Properties Page
Browser Editing the Files’ Tags and Properties In the TYPES page, if you uncheck a tag for which some Sub-Type tags were selected in the columns on the right, these will automatically unassigned as you unassign their pa- rent tag. Creating New Tags You can also create your own tags both in the TYPES...
Page 155: Loading And Importing Files From Your File System
Browser Loading and Importing Files from Your File System ▪ Vendor: Use this field to indicate the manufacturer of the selected files. Click the down- pointing arrow on the right to quickly select any Vendor attribute already in use in other files of the Library.
Page 156 Browser Loading and Importing Files from Your File System 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).
Page 157: Using Favorites
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 quick- ly jump any of them. See section ↑3.6.4, Navigating to Recent Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the Location bar (3).
Page 158: Using The Location Bar
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. Favorites can be useful if you often return to the same location while browsing your file system in the FILES...
Page 159: Navigating To Recent Locations
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. ▪ Selected path: Within the path displayed, you can: ◦...
Page 160: Using The Result List
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. →...
Page 161 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 fold- Double-click a folder to display its content.
Page 162 Browser Loading and Importing Files from Your File System Loading Files from the Result List You can load files from the Result list using the same methods as in the Result list of the LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section ↑3.2.9, Loading a File from the Result List.
Page 163: Importing Files To The Maschine Library
Browser Loading and Importing Files from Your File System Command Description Sort by Name Sorts the Result list according to the item names. Sort by Date Sorts the Result list according to the item dates. 3.6.6 Importing Files to the MASCHINE Library Apart from the huge MASCHINE factory library, you might want to use your own samples or any MASCHINE files you received from other users.
Page 164 Browser Loading and Importing Files from Your File System Select the desired folder as described above. Click the IMPORT button at the bottom right of the Browser. You will be presented with the Attribute Editor. In the Attribute Editor, tag the files you are about to import to the Library as described in section ↑3.5, Editing the Files’...
Page 165: Locating Missing Samples
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. 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.
Page 166 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.
Page 167: Using Quick Browse
Browser Using Quick Browse 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.
Page 168 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 Plug- in in the selected slot: ◦...
Page 169 Browser Using Quick Browse Quick Browse from Control Mode on the Controller From your controller you can easily access Quick Browse for Samples and Plug-in presets di- rectly from Control mode: Press PLUG-IN to enter Control mode and access your Plug-ins. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want to recall the search query —...
Page 170 Browser Using Quick Browse Turn the 4-D encoder to select the desired Plug-in preset or Sample from the list, and press the 4-D encoder to load it. The selected file replaces the previous file in your Project. → Quick Browse from Browse Mode on the Controller You can also access Quick Browse from the Browser on your controller.
Page 171: Managing Sounds, Groups, And Your Project
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master 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. Overview of the Sounds, Groups, and Master In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to the highest: ▪...
Page 172: The Sound, Group, And Master Channels
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master The Sound List (1) and the Group List (2) in the Arrange view of the software. 4.1.1 The Sound, Group, and Master Channels From a routing point of view, each Sound, each Group, and the Master represents a distinct channel in MASCHINE.
Page 173: Similarities And Differences In Handling Sounds And Groups
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.
Page 174: Selecting Multiple Sounds Or Groups
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.
Page 175 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 —...
Page 176 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 abili- ty to modify parameters for the entire selection.
Page 177 Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the com- mon keyboard shortcuts of your operating system: in the Sound List or the Pad view for Sounds, and in the Group List for Groups.
Page 178 Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Press and hold SELECT to enter Select mode. You can also press SELECT + Button 1 to ► pin this mode and make it permanent. You are ready to select more than one Sound or Group. →...
Page 179: Managing Sounds
Managing Sounds, Groups, and Your Project Managing Sounds Selection Tool Description Button 6 (NONE) Deselects all Sounds in the current Group except the focused Sound. Button 8 (MULTI) Enables/disables the multiple selection mode. Toggling this option does nothing to the current focus nor selection but changes the behavior of the selection process —...
Page 180 Managing Sounds, Groups, and Your Project Managing Sounds The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button. Click the Pad View button to show or hide the Pad view. ►...
Page 181: Loading Sounds
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Page 182: Pre-Listening To Sounds
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑3.8, Using Quick Browse for more informa- tion. 4.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the...
Page 183: Renaming Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds Press SELECT + the pad containing the desired Sound. ► The Sound is focused without being triggered. → 4.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s or Sample’s name.
Page 184 Default in the Color Pa- lette. The pads of the MASCHINE STUDIO, MASCHINE MK3, MASCHINE MK2, and MA- → SCHINE MIKRO MK2 controllers mirror the Sound colors you have selected.
Page 185: Saving Sounds
Managing Sounds, Groups, and Your Project Managing Sounds ▪ If the selected Sounds have the same color setting (a particular color or the default color), this color is highlighted in the Color Palette. ▪ If the selected Sounds have different color settings, no setting is highlighted in the Color Palette.
Page 186 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. →...
Page 187: Copying And Pasting Sounds
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 >...
Page 188 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 be- low)! To copy and paste Sounds in the software: 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.
Page 189 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: ▪...
Page 190: Moving Sounds
Managing Sounds, Groups, and Your Project Managing Sounds If you want to duplicate a Sound including its Pattern content, enable the +EVENTS tion (Button 5). Press the pad of the Sound you want to copy. The pad of the Sound starts blinking. Press the pad of the target Sound slot (this can also be in another Group, in this case first press the desired Group button).
Page 191 Managing Sounds, Groups, and Your Project Managing Sounds While holding the mouse button, drag your mouse toward the desired location in the Sound List or in the Pad view. As the mouse cursor moves an insertion line appears at the potential places where you can drop the Sound slot(s).
Page 192: Resetting Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds 4.2.8 Resetting Sound Slots Resetting a Sound slot will remove the Sound it contains and put all its settings (Channel properties, name, color…) back to their default values. You can select multiple Sound slots to reset them all at once! See ↑4.1.3, Selecting Multiple Sounds or Groups for more information.
Page 193: Managing Groups
Managing Sounds, Groups, and Your Project Managing Groups The Sound is removed from the pad and the pad turns off. → Managing Groups This section describes the global editing functions available for Groups. Group Menu Many of the functions described in the following sections are available in the following two context menus: ▪...
Page 194: Creating Groups
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit.
Page 195 Managing Sounds, Groups, and Your Project Managing Groups Creating Groups on Your Controller On your controller, existing Groups are indicated by the lit Group buttons A–H: ▪ The focused Group is indicated by the fully lit Group button. ▪ The other Groups of your Project are indicated by half-lit Group buttons, each Group button showing the color of the corresponding Group.
Page 196: Loading Groups
Managing Sounds, Groups, and Your Project Managing Groups 4.3.2 Loading Groups You can load a readymade Group from the Browser or from your operating system. The Group can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Group you have created yourself and saved for later use.
Page 197: Renaming Groups
Managing Sounds, Groups, and Your Project Managing Groups ▪ You can browse your MASCHINE Library for the desired Group. For more information on how to do this, please refer to section ↑3.2, Searching and Loading Files from the Library. ▪ Alternatively you can recall the search query that was used to find the Group currently loaded in the focused Sound slot.
Page 198 Default in the Color Pa- lette. The Group buttons of the MASCHINE STUDIO, MASCHINE MK3, MASCHINE MK2 con- → trollers, and the pads of the MASCHINE MIKRO MK2 controller (when you hold the GROUP button) mirror the Group colors you have selected.
Page 199: Saving Groups
Managing Sounds, Groups, and Your Project Managing Groups 4.3.5 Saving Groups You can save your Groups as individual files (extension “.mxgrp”). This can be only done in the software. Saving Your Modifications into the Original Group File If you have made changes to a Group loaded in your Project, you can save your modifications as follows: Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the ►...
Page 200 Managing Sounds, Groups, and Your Project Managing Groups You cannot save changes to factory files — these files are read-only. If you run the Save com- mand on a factory file, it automatically turns into the Save As… command: a Save Group dia- log opens and lets you save your modified Group to your user library.
Page 201: Copying And Pasting Groups
Managing Sounds, Groups, and Your Project Managing Groups The Group will be added to the Library and is ready to be tagged in the Browser — see section ↑3.5, Editing the Files’ Tags and Properties for more information on this. You can also save a Group together with all the Samples used in this Group.
Page 202 Managing Sounds, Groups, and Your Project Managing Groups 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.
Page 203 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).
Page 204: Reordering Groups
Managing Sounds, Groups, and Your Project Managing Groups Press the Group button of your target Group (this can also be in another Group bank, in this case first press Button 3/4 to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white Group button after the last col- ored Group button to create the new Group and automatically paste the copied Group there.
Page 205: Deleting Groups
Managing Sounds, Groups, and Your Project Managing Groups When the insertion line appears at the desired location, release the mouse button. The Group takes its new place in the Group List. This new place is also mirrored on the → pads of your controller.
Page 206: Exporting Maschine Objects And Audio
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Deleting a Group. Deleting a Group on Your Controller On your controller in Control mode, do the following to delete a Group: To delete a Group, hold SHIFT ERASE and press the Group button of the Group you ►...
Page 207: Saving A Group With Its Samples
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio 4.4.1 Saving a Group with its Samples Sometimes it is useful to have the ability to save a Group with its Samples outside of the MA- SCHINE Library. If you want to take a Group to another studio or if you want to backup or share a custom drum kit with all the related files, this comes in handy.
Page 208: Saving A Project With Its Samples
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.
Page 209 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Choose Save Project with Samples… from the File menu or the File submenu in the MA- SCHINE menu: You will be presented with the Save Project with Samples panel: In this panel, adjust the settings (see table below) and click Save to confirm or...
Page 210: Exporting Audio
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.
Page 211 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Choose Export Arrangement as Audio… from the File menu or from the File submenu in the MASCHINE menu. You will be presented with the Export Arrangement as Audio panel (see picture below). In the Export page of the...
Page 212 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio The Export page of the Export Arrangement as Audio panel. Following parameters are available: MASCHINE - Manual - 212...
Page 213 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Source Output menu and Selects what will be exported. The content of the Output list under the Output list menu depends on your selection in the menu: underneath Master Output: Select this to export the Master output signal (including all Groups and Sounds and their effects) to one audio file.
Page 214 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Folder Displays the folder on your hard disk where the exported audio file(s) will be saved. To change the destination folder, click the field and select the desired folder in the navigation dialog that opens. Name In this field the name of the destination audio file is displayed.
Page 215 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Following parameters are available: Element Description Options Normalize If this option is checked, the resulting audio file(s) will be normalized, i.e. the exported audio will be brought to the highest possible level without clipping (0 dBFS).
Page 216 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Selects from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz.
Page 217: Importing Third-Party File Formats
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Importing Third-Party File Formats 4.5.1 Loading REX Files into Sound Slots MASCHINE supports REX (ReCycle) files to be loaded. REX files are loops that are already sliced and mapped to MIDI notes. Only REX2 files are currently supported.
Page 218 Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Supported Parameters from MPC Programs Since MASCHINE has a different approach to handling and naming parameters, please refer to this list to find out how MPC Program settings are being translated into MASCHINE settings. MPC Parameter MPC500, MPC400...
Page 219 Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Importing MPC Program Files To import an MPC Program file, open the Browser in the MASCHINE software and click FILES tab. Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel:...
Page 220 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.
Page 221: Playing On The Controller
Playing on the Controller Adjusting the Pads 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. Adjusting the Pads You can optimize and fine-tune the way the pads of your controller react to your playing: ▪...
Page 222 Playing on the Controller Adjusting the Pads When the Pad View button is enabled, the Pad view replaces the Sound List below: The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group.
Page 223: Choosing A Pad Mode
Playing on the Controller Adjusting the Pads Parameter Description Adjusts the base key for the selected pad. See section ↑5.1.3, Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section ↑5.1.4, Using Choke Groups below.
Page 224 Playing on the Controller Adjusting the Pads If your controller is in Group mode (default mode), the right display contains a mapping matrix showing the name and color of the Sound played by each pad. You can adjust the base key for the selected pad by pressing buttons 5-8.
Page 225 Playing on the Controller Adjusting the Pads focused Sound). The pitch of the played note is defined by the base key (see section ↑5.1.3, Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using the Keyboard Mode KEYBOARD button located above the pads activates and deactivates Keyboard mode.
Page 226 MIDI input device will always play the selected Sound without the need to enter Key- board mode. The rear side of the MASCHINE MK3 hardware with the MIDI IN and OUT sockets. Additional Pad Input Modes Chords and Step...
Page 227: Adjusting The Base Key
Playing on the Controller Adjusting the Pads 5.1.3 Adjusting the Base Key In Group mode, the base key defines the key (or pitch) at which the selected Sound will be played when its pad is pressed. In Keyboard mode, it defines the key played by pad on your controller;...
Page 228: Using Choke Groups
Playing on the Controller Adjusting the Pads Sound slots 1 to 4 are selected. If they have different Key values, a MULTI label appears (left). When you drag it (middle), a transpose value appears (right) that will be applied to all selected Sounds when you will release the mouse button. This is also true when adjusting the parameter from your controller.
Page 229 Playing on the Controller Adjusting the Pads ▪ If the pad is set to Master (default setting) it will kill the Sounds of other pads in the same Choke group. ▪ If the pad is set to Slave it won’t kill any other pad of the Choke group — but be killed by pads set to Master within the same group.
Page 230 Playing on the Controller Adjusting the Pads Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left). When you click it and select a new Choke from the list (middle), this new group is applied to all selected Sounds. This is also true when adjusting the parameter from your controller.
Page 231: Using Link Groups
Playing on the Controller Adjusting the Pads 5.1.5 Using Link Groups When your pads are in Group mode, Link groups allow you to link pads with each other: this can be used to trigger multiple Sounds when pressing only one pad. Each pad of a Group can be assigned to one of eight Link groups.
Page 232 Playing on the Controller Adjusting the Pads A Link group makes sense only if more than one pad/Sound are assigned to it! Adjusting the Link Parameter for Multiple Sounds with different Link Values Click the MULTI label next to Link and select the desired value from the list to set all ►...
Page 233: Adjusting The Key, Choke, And Link Parameters For Multiple Sounds
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds Turn Knob 4 (LINK MODE) to select the Link mode from MASTER (default setting) or SLAVE for that pad. Release PAD MODE (or press it again if you pinned the mode). Adjusting the Key, Choke, and Link Parameters for Multiple Sounds In the software, if you select multiple Sounds with different Key, Choke...
Page 234: Adjusting The Base Key
Playing on the Controller Adjusting the Base Key Adjusting the Choke or Link Parameter for Multiple Sounds with different Choke or Link Values Click the MULTI label next to Choke Link and select the desired value from the list to ►...
Page 235: Playing Tools
Playing on the Controller Playing Tools Adjusting the base key only affects the notes played by the pads of your controller. It does not affect the notes recorded in your Patterns! To adjust the key of notes in Pat- terns, please refer to section ↑4.1.3, Selecting Multiple Sounds or Groups.
Page 236: Mute And Solo
Playing on the Controller Playing Tools ▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑5.4.1, Mute Solo. ▪ Choke All Notes allow you to cut all playing audio: ↑5.4.2, Choke All Notes. ▪ Groove allows you to give a shuffling flair to individual Sounds/Groups or to your entire Project: Groove.
Page 237 Playing on the Controller Playing Tools To momentarily mute all audio from all Sounds and Groups at once, please refer to sec- tion ↑5.4.2, Choke All Notes. Mute and Solo in the Software Soloing a Sound To solo a Sound, right-click (on macOS: [Ctrl]-click) the number on the left side of the ►...
Page 238 Playing on the Controller Playing Tools Muting a Sound To mute a Sound, click the number on the left side of the Sound slot in the Pattern Edi- ► tor. Muting a Sound. To unmute the Sound, click the number again. ►...
Page 239 Playing on the Controller Playing Tools To unmute the Group, click the Group index again. ► Mute and Solo on Your Controller To enter solo mode on your controller: The Solo mode on the controller. Press and hold SOLO to enter Solo mode. You can also press SOLO + Button 1 to pin this mode and make it permanent.
Page 240: Choke All Notes
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 Ex- ternal). Choke All Notes is only available on your controller:...
Page 241: Groove
Playing on the Controller Playing Tools Press SHIFT MUTE to choke all playing notes. ► Choke All Notes can be useful in various situations: ▪ as a creative tool in a live performance, e.g. to create stutter beaks, ▪ as a workflow aid, to stop long one-shot Samples that still continue playing after you have stopped the sequencer, ▪...
Page 242 Playing on the Controller Playing Tools The Groove properties for a Sound in the software. The Groove properties for a Sound on the controller. Controls Description SWING Section Amount Adjusts the amount of swing, i.e. the amount by which some events are shifted.
Page 243: Level, Tempo, Tune, And Groove Shortcuts On Your Controller
Playing on the Controller Playing Tools The following picture shows you how this rhythm would sound with the following settings: ▪ Top: Amount 0.0 % (no groove). ▪ Middle: Amount 100.0 % Invert off. ▪ Bottom: Amount 100.0 % Invert enabled.
Page 244 Playing on the Controller Playing Tools Volume and Velocity Shortcuts The VOLUME button. In Pad Mode, Keyboard mode or Chords mode: Press the VOLUME [Velocity] button. To change the output level of the Master (i.e. the overall output level of MASCHINE), sim- ply turn the 4-D encoder.
Page 245 Playing on the Controller Playing Tools In the software you can also adjust the output level of the Master via the Master Volume slider in the Header: The Master Volume slider in the software’s Header. To reset the output level of the Master to 0 dB, double-click the Master Volume slider. Swing and Position Shortcuts The SWING button.
Page 246 Playing on the Controller Playing Tools To change the position of a selected step in Step mode, hold its pad and turn the 4-D en- coder. The adjusted value is temporarily shown on the left display. → To adjust the value in finer increments, press and turn the 4-D encoder (or hold SHIFT while you turn it).
Page 247: Tap Tempo
Playing on the Controller Playing Tools To change the tempo of the Master (i.e. the tempo of your Project), simply turn the 4- D encoder. To change the tune of all Sounds in a Group, hold the desired Group button (first navigate to its Group bank if necessary) and turn the 4-D encoder.
Page 248: Performance Features
Playing on the Controller Performance Features You can also use the button to adjust the current tempo: Press the TEMPO button and turn the 4-D encoder to quickly adjust the tempo of your ► Project. Press and turn the 4-D encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled.
Page 249 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”...
Page 250 Playing on the Controller Performance Features The Control Signal Flow—Pads in Group Mode The following diagram illustrates signal flow between your hits on the pads in Group mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Group mode.
Page 251: Selecting A Scale And Creating Chords
Playing on the Controller Performance Features 5.5.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano ac- cording to, e.g., the minor pentatonic scale without hitting a “false”...
Page 252 Playing on the Controller Performance Features ▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g., key switches) on particular keys, these notes will not be triggered by the Scale and Chord engine. Available Scales The Scale engine is controlled via two parameters: ▪...
Page 253 Playing on the Controller Performance Features Scale Type Degrees (1 = Root Note) ♭3 ♭7 Minor Pentatonic ♭3 ♭7 Blues ♭3 ♭6 Japanese ♭2 ♭6 ♭7 Freygish ♭3 ♭6 Gypsy ♭2 ♭6 Flamenco ♭2 ♭3 ♭4 ♭5 ♭6 ♭7 Altered Whole Tone ♭2 ♭7...
Page 254 Playing on the Controller Performance Features ◦ Chord Set: This special mode maps a set of chords onto the first 12 pads of your con- troller. These chords are not bound to any scale type, they are only affected by the se- lected Root Note.
Page 255 Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Diminished 7 3, 6, and 9 Augmented 4 and 8 Quartal 5, 10, and 15 Trichord 5 and 11 When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic, the chords are bound to the particular notes included in the specified scale.
Page 256 Playing on the Controller Performance Features Note that if Chord Mode is set to Harmonizer, pads triggered as part of the chord will also flash. When Chord Mode is set to Chord Set, pad 1 is fully lit: Type of Pad LED in Default LED when Pad Triggered State...
Page 257: Creating Arpeggios And Repeated Notes
Playing on the Controller Performance Features ▪ If Chord Mode is set to Off, the notes with the pitch corresponding to the pressed pad are deleted. ▪ If Chord Mode is set to Harmonizer, only the notes with the pitch of the pressed pad are deleted.
Page 258 Playing on the Controller Performance Features ▪ The Note Repeat / Arp engine detects and makes use of any changes in the pressure you apply on each single pad you hold (Polyphonic Aftertouch). This allows you to generate ar- peggios and repeated notes with varying velocities! ▪...
Page 259 Playing on the Controller Performance Features Note Repeat mode seamlessly switches to Arp mode as soon as you switch your pads from Group mode to Keyboard mode (see below): All current values (including the LOCK state) are retained. Pads in Keyboard mode: Arp If your pads are in Keyboard mode, pressing NOTE REPEAT switches your controller to Arp...
Page 260 Playing on the Controller Performance Features Element Description GATE RESET Press this button at any time to reset the GATE parameter to its (Button 4) default value of 100%. Button 5–8 Selects between four different presets, even during playing. Each preset can store particular values for the TYPE;...
Page 261: Swing On Note Repeat / Arp Output
Playing on the Controller Performance Features Element Description SEQUENCE (Knob 5) Allows you to add interesting rhythms to your arpeggiated notes. Select one of eight different sequences and apply it to the arpeggio you are playing. Select to use the default regular sequence. OCTAVES (Knob 6) Adjusts the spread of the arpeggiated sequence.
Page 262: Using Lock Snapshots
Playing on the Controller Using Lock Snapshots The applied swing is not recorded in the Pattern Editor. For an overview of the signal flow starting from your pads, have a look at the diagrams in section ↑5.5.1, Overview of the Perform Features.
Page 263: Using Extended Lock
Playing on the Controller Using Lock Snapshots Press LOCK to take a snapshot. ⇨ 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.
Page 264: Recalling A Lock Snapshot
Playing on the Controller Using Lock Snapshots Select the pad containing the snapshot you want to update. If necessary, press Button 7 or 8 to access a Lock snapshot from another bank. ⇨ The selected snapshot will illuminate to indicate it is in focus. Press the LOCK button to exit Extended Lock view.
Page 265: Deleting A Lock Snapshot
Playing on the Controller Using Lock Snapshots Turn knob 1 to turn the MORPH setting on. Adjust the Morph mode and time to your requirements. A description of each mode is de- scribed in the table below. As you switch between your snapshots a controlled transition from one to another at the →...
Page 266: Triggering Lock Snapshots Via Midi
Playing on the Controller Using Lock Snapshots Press the pad containing the snapshot you want to clear. The snapshot is cleared. 5.6.7 Triggering Lock Snapshots via MIDI If MASCHINE is running as a plug-in in a host environment, you can trigger and change Lock snapshots using MIDI Note or MIDI Program Change messages sent from your host to the MA- SCHINE plug-in.
Page 267 Playing on the Controller Using Lock Snapshots Enabling the MIDI Lock Change To enable or disable the MIDI Lock Change feature, do the following: In the MASCHINE Header, click the cog wheel icon. Click MIDI Change. ⇨ This opens the following dialog: ⇨...
Page 268: Using The Smart Strip
For more information on triggering Lock snapshots using your DAW (Digital Audio Workstation), please check the Knowledge Base on the Native Instruments website. Using the Smart Strip The Smart Strip on the controller puts control of several parameters literally at your fingertips: You can use the Smart Strip to apply pitch bend or modulation to the sound you are playing on the pads, or you can tweak Perform FX in real time.
Page 269: Pitch Mode
Playing on the Controller Using the Smart Strip 5.7.1 Pitch Mode In Pitch mode, sliding your finger on the Smart Strip “bends” the pitch of the notes you play on the pads, i.e., it detunes the sound by a certain amount. If you have used the pitch bend wheel on a synthesizer or standard MIDI keyboard before, you are probably familiar with the effect.
Page 270: Notes Mode
Playing on the Controller Using the Smart Strip Press the PLUG-IN button. Select the channel you want to apply the effect by selecting MASTER, GROUP, or SOUND Buttons 1–3 respectively. Open the Perform FX page on the controller by pressing SHIFT + PERFORM.
Page 271: Working With Plug-Ins
▪ An exhaustive description of an essential Internal Instrument Plug-in in charge of playing back all sample content in MASCHINE: the Sampler (↑6.2, The Sampler Plug-in). ▪ Specific information on Native Instruments and External Plug-ins (↑6.3, Using Native In- struments and External Plug-ins).
Page 272 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. MASCHINE - Manual - 272...
Page 273 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.
Page 274 ↑8, Audio Routing, Remote Control, and Macro Controls ↑13, Ef- fect 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 inte- grated in MASCHINE. MASCHINE - Manual - 274...
Page 275: First Plug-In Slot Of Sounds: Choosing The Sound's Role
External Instrument, see above), the Sound will generate its own audio. ▪ If the first Plug-in slot holds an Effect Plug-in (Internal, Native Instruments or External), the Sound will be available as bussing point for other signals (from within MASCHINE, and possibly from the outside world).
Page 276 Working with Plug-ins Plug-in Overview area above. The Control area will now show the content (Channel properties or Plug-ins) of the Sound we have just selected. At the far left of the Control area, click the little plug icon to display the Plug-ins. This displays the Plug-in List on the left of the Control area: The Plug-in List is still empty, because we selected an empty Sound slot.
Page 277 Upon your selection the selected Plug-in sits at the top of the Plug-in List, in the first → Plug-in slot of the Sound (in our example). In addition, some Native Instruments and Ex- ternal Plug-ins will automatically open in a floating window (see section ↑6.3.1, Opening/...
Page 278 Working with Plug-ins Plug-in Overview A few Plug-ins loaded. This down-pointing arrow lets you open the Plug-in menu for slots already hosting a Plug-in. In the Plug-in List, click the down-pointing arrow at the right of a Plug-in name to open ►...
Page 279 Plug-ins Presets submenu (only Lists all VST/AU presets made available to MASCHINE by the when a Native Instruments VST/AU plug-in. This allows you to use your favorite presets of or External Plug-in is the VST/AU plug-in directly inside MASCHINE. See section loaded) ↑6.3.4, Using VST/AU Plug-in Presets...
Page 280 Plug-in Overview Plug-in Menu Entry Description Native Instruments Lists available Native Instruments’ Instruments (first Plug-in slot submenu of Sounds only) and Effects. For products working both as Instrument and Effect, the Effect Plug-in name is followed by the mention FX. If necessary each entry is followed by the plug- in type between brackets: (VST) or (AU).
Page 281: Browser Plug-In Slot Selection
This default preset will be recalled each time you load or External Plug-in is the Plug-in from the Plug-in menu. loaded) Note that the first two submenus Native Instruments and External only show the Plug- ins that are enabled in the Plug-ins page of the Preferences panel.
Page 282 On the left display, turn Knob 1 to select the TYPE from INTERNAL, or EXTERNAL. The right display shows the list of available Internal, Native Instruments or External Plug- ins, respectively. If you have selected the first Plug-in slot of a Sound, turn Knob 2 to select the SUBTYPE from Instr.
Page 283 Working with Plug-ins Plug-in Overview If the selected Plug-in slot was not empty, the previous Plug-in will be replaced with the new Plug-in! Instead of using the Plug-in Browser, you can also use the common Browser to load a particular preset for a Plug-in (see section ↑3.2, Searching and Loading Files from the Library).
Page 284: Adjusting The Plug-In Parameters
↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area. Native Instruments and External Plug-ins only: You can also adjust the Plug-in parame- ters via the own user interface of the VST/AU plug-in. More on this in ↑6.2.6, Page 6: Velocity / Modwheel.
Page 285 Working with Plug-ins Plug-in Overview If you want to bypass a Plug-in of a Group, click the desired Group on the left of the Ar- ranger, and click the GROUP tab in the top left corner of the Control area. If you want to bypass a Plug-in of a Sound, click the Group of its parent Group in the Ar- ranger, click the desired Sound slot on the left of the Pattern Editor, and click the SOUND...
Page 286: Using Side-Chain
Working with Plug-ins Plug-in Overview If you want to bypass a Plug-in of a Sound, press Button 3 to select the SOUND tab, se- lect its parent Group as described in the previous step, and press SELECT + the pad of that Sound (or simply hit its pad if pads are in Group mode).
Page 287: Moving Plug-Ins
Working with Plug-ins Plug-in Overview 6.1.7 Moving Plug-ins MASCHINE allows you to move Plug-ins across the Plug-in List and across Sounds and Groups. Moving Plug-ins Within the Plug-in List To move a Plug-in in the Plug-in List, click its name and drag your mouse vertically. ►...
Page 288: Alternative: The Plug-In Strip
Working with Plug-ins Plug-in Overview 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. Duplicating Plug-ins Across Sounds and Groups Instead of selecting Cut in the Plug-in menu of the original slot (see above), select Copy to du- plicate the Plug-in to another slot! Moving a Plug-in on the Controller On your controller in Control mode, you can move a Plug-in to another slot of the same Sound,...
Page 289: Saving Plug-In Presets
Working with Plug-ins Plug-in Overview The MASCHINE file format for Native Instruments plug-ins allows you to save a preset in the format native to the plug-in and freely exchange files between the plug-in instrument in stand- alone mode, MASCHINE, and KOMPLETE KONTROL.
Page 290 Default... menu item. The Save As… and Save As Default… commands notably allow you to import into the MASCHINE library your user presets for Native Instruments instruments/effects as well as both factory and user presets for third-party instruments/effects! See ↑6.3.4, Using VST/AU Plug-in Presets section for more on this.
Page 291: Recalling Plug-In Presets
In addition, the MASCHINE library already provides a collection of Plug-in presets for MA- SCHINE Internal Plug-ins. Furthermore, any Native Instruments product installed on your com- puter will have its own factory library already imported into the MASCHINE Browser so that you can browse and load its presets directly from MASCHINE, ready for loading.
Page 292: The Sampler Plug-In
Working with Plug-ins The Sampler Plug-in Click the Plug-in drop-down menu. 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 de- fault plug-in presets and also remove them if required.
Page 293 Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ↑7.5, Recording and Editing Modulation ↑8.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dialog will appear and help you locate the missing Sample(s) again.
Page 294: Voice Settings / Engine
Working with Plug-ins The Sampler Plug-in 6.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller. Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software. Parameter Description VOICE SETTINGS...
Page 295: Page 2: Pitch / Envelope
Working with Plug-ins The Sampler Plug-in Parameter Description Glide If Legato is selected for the Polyphony parameter, this allows to adjust the duration of the transition between consecutive notes. Pitchbend Here you can adjust how the Sound reacts on incoming MIDI Pitchbend messages from an external MIDI controller or your host application.
Page 296 Working with Plug-ins The Sampler Plug-in Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software. Parameter Description PITCH / GATE Tune Defines the basic pitch of your Sample: turn the knob to the right for a higher pitch and to the left for a lower pitch.
Page 297 Working with Plug-ins The Sampler Plug-in ▪ One-shot: This is typical vintage drum machine behavior: the sample is played in its entire- ty from beginning to end with no envelope. If One-shot is selected, the AMPLITUDE ENVE- LOPE section doesn’t display any parameters. ▪...
Page 298: Page 3: Fx / Filter
Working with Plug-ins The Sampler Plug-in Parameter Description AMPLITUDE ENVELOPE Attack (AHD and Attack determines how quickly the Sound reaches full volume after ADSR) being triggered. Hold (AHD only) Hold determines how long the envelope will stay at its maximum level.
Page 299 Working with Plug-ins The Sampler Plug-in Sampler parameters – page 3 of 6: FX and FILTER in the software. This is a small selection of basic effects, not to be mixed up with the collection of Effect Plug- ins covered in depth in chapter ↑13, Effect Reference.
Page 300: Modulation
Working with Plug-ins The Sampler Plug-in Filter Modes Description BP2 is a band-pass filter with a Cutoff parameter. Cutoff can be modulated by Velocity, the Modulation Envelope, the LFO or the MIDI Modulation Wheel. HP2 is a high-pass filter with Cutoff Resonance parameters.
Page 301 Working with Plug-ins The Sampler Plug-in MODULATION ENVELOPE MODULATION ENVELOPE section offers an additional envelope allowing further modifica- tion (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...
Page 302: Lfo
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Drive Drive parameter of the section on the FX / Filter page (page 3). parameter on the Audio page of the Sound’s Output properties (see ↑8.1.2, Configuring the Main Output of Sounds and Groups more information).
Page 303 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...
Page 304: Velocity / Modwheel
Working with Plug-ins The Sampler Plug-in 6.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller. Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters.
Page 305 Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Start Start parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Positive values shift the Sample start position later in time as you play harder, negative values shift it closer to the beginning of the Sample as you play harder.
Page 306: Using Native Instruments And External Plug-Ins
Overview. 6.3.1 Opening/Closing Plug-in Windows When you load a Native Instruments or External Plug-in into a Plug-in slot, you can open a floating window containing the user interface of that Native Instruments or third-party instru- ment/effect. Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are automatically opened in floating windows when loaded from the Plug-in menu.
Page 307 Working with Plug-ins Using Native Instruments and External Plug-ins MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8). When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little di- agonal arrow appears left of the Parameter pages’...
Page 308 ↑9.4.4, Custom Panels for Native Instruments Plug-ins. ▪ Default view and Additional view: Each Native Instruments Plug-in can provide one or two custom views including reduced sets of controls. The Default view is available for every Na- tive Instruments Plug-in, while the Additional view is available for specific Native Instru- ments Plug-ins only.
Page 309: Using The Vst/Au Plug-In Parameters
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil...
Page 310: Setting Up Your Own Parameter
6.3.3 Setting Up Your Own Parameter Pages As with any Plug-in, the parameters of a Native Instruments or External Plug-in are organized into pages. Each Plug-in can have any number of pages, each containing 8 knobs, which can be assigned to the parameters of the VST/AU instrument or effect.
Page 311 (not to switches nor selectors) in MASCHINE — this is also true in the MASCHINE software. A parameter of a Native Instruments or External Plug-in can be assigned to one knob only! To begin assigning parameters, do the following: Select the Plug-in for which you want to customize parameter assignments.
Page 312 Parameter pages. Pages tab can be clicked only for Native Instruments or External Plug-ins and for the Macro properties. For all other Plug-ins and Channel properties, parameters and Pa- rameter pages are not editable, and the Pages tab is grayed out and inactive.
Page 313 Working with Plug-ins Using Native Instruments and External Plug-ins (1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parame- ter page. (2) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new page.
Page 314 Working with Plug-ins Using Native Instruments and External Plug-ins Parameter Slots - Context Menu When the Assignment area is opened and the Pages tab is selected, a right-click on an as- signed or unassigned Parameter slot’s label brings up a context menu.
Page 315: Using Vst/Au Plug-In Presets
6.3.4 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. MASCHINE lets you directly load these presets and save them as Plug-in presets within MASCHINE. Saving...
Page 316 Browser on your controller. You can also add to the MASCHINE library the user presets you might have created for any Native Instruments product installed on your computer. To do this, simply add the corresponding path(s) to the list found on the...
Page 317 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). MASCHINE allows you also to change the preset in your Native Instruments or third-party VST/ AU plug-in via MIDI Program Change messages. For more information, see section ↑8.2.3,...
Page 318: Multiple-Output Plug-Ins And Multitimbral Plug-Ins
Using Native Instruments and External Plug-ins Saving VST/AU Presets as MASCHINE Plug-in Presets Once you have loaded a VST/AU preset (user preset of a Native Instruments instrument/effect or any preset of a third-party VST/AU instrument or effect) using the method described above, you can save it as a Plug-in preset in MASCHINE via the Save As…...
Page 319: Working With Patterns
Working with Patterns Pattern Basics Working with Patterns Creating a Pattern is where the fun starts, because the sequencer really is the core of MA- SCHINE. Both your controller and the software provide you with many powerful tools to create and edit your own beats.
Page 320: Pattern Editor Overview
Working with Patterns Pattern Basics In every Scene of your Project you can choose for each Group which of its Patterns has to be played. In each Scene the Pattern you have chosen will be referenced by a Clip (more on this in chapter Saturator).
Page 321 Working with Patterns Pattern Basics (3) Sample Editor button: Click this button to switch between the Pattern Editor and the Sample Editor. The Sample Editor is covered in chapter ↑13, Effect Reference. (4) Sound List: Sound slots 1–16 of the selected Group are listed here. In Keyboard view (2), click a Sound slot to display its events in the Event area (7).
Page 322 Working with Patterns Pattern Basics (10) MIDI and Audio Dragger: The MIDI Dragger and the Audio Dragger allow you to conveniently drag and drop MIDI or audio from your Patterns to your desktop or host software, respectively. See section ↑7.8.1, Exporting Audio from Patterns ↑7.8.2, Exporting MIDI from Patterns for more information.
Page 323 Working with Patterns Pattern Basics ▪ The Step mode allows you to record Patterns (including modulation) in the step sequencer: ↑7.3, Recording Patterns with the Step Sequencer. ▪ The Event Select mode allows you to select the desired events: ↑7.4.3, Selecting Events/ Notes.
Page 324 Working with Patterns Pattern Basics The Pattern Arrange mode in the controller displays: Keyboard view (top) and Group view (bottom). In Pattern Arrange mode, the displays of your controller show the following: ▪ The left display provides an overview of the whole Pattern: ◦...
Page 325 Working with Patterns Pattern Basics ◦ Above the arrangement overview, you see the name of the Project, the focused Group or the focused Sound (depending on which of the MASTER, GROUP SOUND tab is selected in the software’s Control area) along with the current tempo and playback po- sition.
Page 326: Navigating The Event Area
Working with Patterns Pattern Basics ▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑7.7.8, Duplicating, Copying, and Pasting Patterns). ▪ Press Button 3 (DOUBLE) to double the Pattern (see section ↑7.4.9, Doubling a Pattern). See also 2 Following the Playback Position in the Pattern [➙ 327] 7.1.2 Navigating the Event Area The Event area in the Pattern Editor can be scrolled and zoomed in or out to fit your current...
Page 327: Following The Playback Position In The Pattern
Working with Patterns Pattern Basics ▪ Click the left handle (2) of the scroll bar, hold the mouse button, and drag your mouse hori- zontally to zoom in or out of the Event area while keeping the right border of the display at a fix positioned in the Pattern.
Page 328 Working with Patterns Pattern Basics To follow the playhead position in the Event area during playback, click the Follow button ► in the MASCHINE Header. The Follow button lights up in the MASCHINE Header. The Event area will now switch to →...
Page 329: Jumping To Another Playback Position In The Pattern
Working with Patterns Pattern Basics playhead has gone across all 16 steps shown by the pads on your controller, the pads switch to the next 16 steps of the Pattern, if any. See section ↑7.3, Recording Patterns with the Step Sequencer for more information on Step mode.
Page 330: Group View And Keyboard View
Working with Patterns Pattern Basics Depending on the playback state, the following will happen: ▪ If playback is off, the playhead jumps to the closest step before your mouse cursor, accord- ing to the current Step Grid settings. If the Step Grid is disabled, the playhead jumps to the exact position you have clicked.
Page 331 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.
Page 332 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.
Page 333: Adjusting The Arrange Grid And The Pattern Length
Working with Patterns Pattern Basics 7.1.6 Adjusting the Arrange Grid and the Pattern Length The Arrange Grid defines regularly spaced-out timings notably used in following situations: ▪ Adjusting the Pattern length (see below). ▪ Adjusting the Section lengths. Adjusting the Arrange Grid To adjust the Pattern Grid: 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).
Page 334 Working with Patterns Pattern Basics Adjusting the Pattern Length You can adjust the length of your Patterns to fit your needs. The Pattern Length is measured in bars and beats, and Patterns can be up to 256 bars long. When you create a new empty Pat- tern (see ↑7.7.3, Creating Patterns), the Pattern has the default length as defined in the...
Page 335 Working with Patterns Pattern Basics Adjusting the Pattern Length and Arrange Grid on the Controller On your controller, the length of the selected Pattern, along with the Pattern Grid resolution used to modify this length, can both be adjusted using various methods: via the Pattern mode, the Pattern Arrange mode, the Grid mode or the Record Prepare mode.
Page 336: Adjusting The Step Grid And The Nudge Grid
Working with Patterns Pattern Basics The selected value is highlighted on the right display and the corresponding pad turns → fully lit. To disable the Arrange Grid, simply select the value in the top right corner: To disable the Pattern Grid, hold SHIFT + GRID, press Button 3 (ARRANGE), then press ►...
Page 337 Working with Patterns Pattern Basics The vertical lines represent the Step Grid in the Event area. 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.
Page 338 Working with Patterns Pattern Basics The Step Size menu lets you adjust the Step Grid resolution. To select the step size that will apply to all your editing actions, click the value next to ► the grid icon at the bottom left of the Pattern Editor and choose the desired step size from the drop-down menu.
Page 339 Working with Patterns Pattern Basics To adjust the Nudge Grid, right-click ([Ctrl]-click on macOS) on the background of the ► Event area, select Nudge Grid in the menu, and choose a resolution from the values avail- able in the submenu: Step, Step/2, Step/4, Step/8, and Step/16: The Nudge Grid is not indicated in the Event area of the Pattern Editor.
Page 340 Working with Patterns Pattern Basics Press Button 4 (STEP) to access the Step and Nudge Grid settings. The right display will show you which pad represents a resolution: Select a step size by pressing the corresponding pad. Alternatively you can repeatedly press Button 5–8 to successively select each of the resolutions in the corresponding col- umn.
Page 341: Recording Patterns In Real Time
Working with Patterns Recording Patterns in Real Time Recording Patterns in Real Time This section describes the various ways, features, and aids available on your controller to re- cord Patterns as you play them in real time: ▪ The most common method is called overdub recording. Alternatively you can use replace recording.
Page 342 Working with Patterns Recording Patterns in Real Time Recording a Pattern: press PLAY then REC and hit some pads! Press PLAY to start the sequencer. PLAY button lights up. Press to begin recording. button lights up. Now hit the pads you want to record and listen to what happens. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad.
Page 343 Working with Patterns Recording Patterns in Real Time Hit the pads you want to record. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad. Existing events for the selected Sound(s) are deleted as they are reached by the playhead.
Page 344: The Record Prepare Mode
Working with Patterns Recording Patterns in Real Time ▪ If a Pattern is already selected (i.e. loaded in the Pattern Editor), the events are recorded in that Pattern. This is also true if the playhead of the Arranger currently is within an auto- matic repetition of the Pattern.
Page 345: Using The Metronome
Working with Patterns Recording Patterns in Real Time The Record Prepare Mode on Your Controller With disabled, press and hold to enter Record Prepare mode. After a second, the following displays appear: While holding REC, turn Knob 2 (GRID) to adjust the Pattern Grid resolution. While holding REC, to adjust the Pattern Length for the Pattern in which you are about to record, you can turn Knob 1 (LENGTH) or press Button 5–8 to directly select from the four length presets available: 2, 4, 8, or...
Page 346 Working with Patterns Recording Patterns in Real Time Click the metronome icon in the MASCHINE Header to enable/disable the metronome: ► The metronome can be heard only when the sequencer is playing! The metronome signal is sent to the Cue bus. To know how to use the Cue bus, see section ↑9.2.6, Using the Cue Bus.
Page 347: Recording With Count-In
Working with Patterns Recording Patterns in Real Time Press SETTINGS to show the recording settings. Turn Knob 1 (Metronome LEVEL) to adjust the metronome volume. Turn Knob 2 (Metronome TIME) to select a time signature. While adjusting the metronome settings you can enable/disable the metronome via But- ton 2 (METRO).
Page 348: Quantizing While Recording
Working with Patterns Recording Patterns in Real Time If the current Loop Range does not start at the beginning of a bar (i.e. on a downbeat), the count-in phase will start with a downbeat, count the selected duration (1, 2 or 4 bars), and then add the offset between the beginning of the bar in which the beginning of the Loop Range is placed and the actual beginning of the Loop Range: Count-in when the Loop Range starts at the beginning of a bar…...
Page 349: Recording Patterns With The Step Sequencer
Working with Patterns Recording Patterns with the Step Sequencer Recording Patterns with the Step Sequencer If you are familiar with classic drum machines you may want to program your Pattern using the step sequencer. 7.3.1 Step Mode Basics On your controller the step sequencer is available via the Step mode. The Step mode allows you to program the steps to be played by the focused Sound in the current Group.
Page 350 Working with Patterns Recording Patterns with the Step Sequencer The left display shows your entire Pattern, and the right display focuses on the portion of the Pattern corresponding to the steps controlled by your pads. The details shown in the displays depend on the current mode of your pads: ▪...
Page 351: Editing Events In Step Mode
Working with Patterns Recording Patterns with the Step Sequencer ▪ The event pitch is set to the Sound’s base key. To understand how to change the base key of your Sounds, see section ↑5.1.3, Adjusting the Base Key. ▪ The event velocity is defined by how hard you hit the pads, unless you have enabled the Fixed Velocity option (see below).
Page 352 Working with Patterns Recording Patterns with the Step Sequencer Press and hold for a second the pad(s) of the step(s) you want to edit. If you want to ad- just the last step you have created, you can skip this step: the last created event is auto- matically selected.
Page 353: Recording Modulation In Step Mode
Working with Patterns Recording Patterns with the Step Sequencer Quick Edit Shortcuts for the Selected Steps You can also quickly adjust the velocity, pitch, and position of any events via the Quick Edit shortcuts: Press and hold the pad(s) of the step(s) you want to edit. To adjust the events’...
Page 354: Editing Events
Working with Patterns Editing Events the Page button (left of the displays) to select the Parameter page containing the parame- ter you want to record modulation for. Only parameters that can be modulated will appear at the bottom of the displays. While holding the pad(s), turn any of the Knobs 1–8 under the displays to edit the modu- lation value of the corresponding parameter for this step.
Page 355 Working with Patterns Editing Events The Edit Mode selector. To choose a Mouse Edit mode, click the desired icon in the Edit Mode selector, at the ► bottom left of the Pattern Editor. You can also right-click ([Ctrl]-click on macOS) in the background of the Event area and select the desired mode from the context menu.
Page 356 Working with Patterns Editing Events Action Function Creating Notes (see ↑7.4.2, Creating Events/Notes details) Double-click in Event area’s background Creates note Deleting Notes (see ↑7.4.5, Deleting Events/Notes details) Double-click note Delete selected notes Right-click (macOS: [Ctrl]-click) Delete selected notes Selecting Notes (see ↑7.4.3, Selecting Events/Notes details)
Page 357 Working with Patterns Editing Events Action Function [Alt] + drag note Duplicates selected notes. When you drag horizontally, the copies are moved in time according to the Step Grid. Drag left/right note border Moves the start/end of selected notes according to the Step Grid, thereby resizing the notes.
Page 358: Creating Events/Notes
Working with Patterns Editing Events Mouse in Erase Mode With Erase mode enabled, the mouse works like an eraser: Click and hold the left mouse button down to erase notes wherever you move the cursor. ► Contrary to Paint mode, in Erase mode notes are always deleted, no matter if you first click a note or in the background of the Event area.
Page 359: Selecting Events/Notes
Working with Patterns Editing Events Creating Events Beyond the Pattern’s End If you create an event beyond the end of the Pattern in the Event area, the Pattern is automati- cally extended to the next Pattern Grid division after the new event so that the Pattern includes this new event.
Page 360 Working with Patterns Editing Events Selecting All Events You can select all events displayed in the Event area via the usual keyboard shortcut on your operating system: Click anywhere in the Event area and press [Ctrl] + [A] ([Cmd] + [A] on macOS) on your ►...
Page 361 Working with Patterns Editing Events When your pads are in Group mode the Event Select mode looks as follows: Selecting events on the controller with the pads in Group mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group.
Page 362 Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate Sounds for which the Pattern has no events. Nothing happens when you press them. Dimmed pads indicate Sounds for which events can be selected: Press any dimmed pad to add all events for that Sound to the selection. The pad turns fully lit to indicate that all its events are selected.
Page 363 Working with Patterns Editing Events Event Select Mode: Selecting Notes (Pads in Keyboard mode) In Keyboard mode each pad represents a specific pitch of the focused Sound. When your pads are in Keyboard mode the Event Select mode looks as follows: Selecting events on the controller with the pads in Keyboard mode.
Page 364: Editing Selected Events/Notes
Working with Patterns Editing Events Selection Tool Description Pads Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when you press them. Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad to add all notes at that pitch to the selection. The pad turns fully lit to indicate that all its notes are selected.
Page 365 Working with Patterns Editing Events In the software you can edit events with your mouse only if Select mode is selected in the Edit Mode selector: Click the cursor icon on the left to select events with your mouse. Action Function Editing Selected Notes Drag note horizontally...
Page 366 Working with Patterns Editing Events If you perform any of the actions listed above on a note not included in the current selection, the selection is dropped and the note you are editing will be the only note affected by your edit.
Page 367 Working with Patterns Editing Events ▪ Whereas dragging is based on the Step Grid, the Nudge command is based on the Nudge Grid (see section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid). ▪ Whereas you can drag notes beyond the end of the Pattern, nudged notes reaching the end of the Pattern are automatically sent to the beginning of the Pattern.
Page 368 Working with Patterns Editing Events The Event Edit mode on the controller with pads in Group mode. ▪ The left display shows an overview of the events in your Pattern for all Sounds in the Group. ▪ The right display shows a detailed view of a portion of your Pattern with events and their velocities for the focused Sound.
Page 369 Working with Patterns Editing Events Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respec- ► tively. If your pads are in Keyboard mode, turn Knob 7 to scroll on the pitch axis (vertical axis) ►...
Page 370 Working with Patterns Editing Events Editing Tool Description Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different velocities, the velocities differences are retained as long as the limits (0 and 127) are not reached. If one event only is selected, its velocity is shown under VELOCITY.
Page 371: Deleting Events/Notes
Working with Patterns Editing Events Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small increments. This can be used to creatively add groove to Patterns — for example, shift- ing the snare drum so that it is ever so slightly late, or “in the pocket” (something a funk drummer does naturally!).
Page 372 Working with Patterns Editing Events Mouse in Erase Mode To delete an event, simply click it. Click and hold the mouse anywhere in the Event area ► and move the cursor to quickly delete series of events. Deleting Events/Notes on the Controller Your controller provides you with several tools to delete events from the current Pattern.
Page 373 Working with Patterns Editing Events Press SHIFT + pad (CLEAR) to erase the selected events. If nothing is selected, all ► event/notes in the Pattern will be affected. Deleting Events or Notes while Playing If the sequencer is currently playing, you can selectively erase events at the play position: While the Pattern is playing, hold ERASE + the desired pad to progressively delete the...
Page 374: Cut, Copy, And Paste Events/Notes
Working with Patterns Editing Events ▪ The jumps are based on the step size, that is on the Step Grid setting. See section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid for more information. The command has the same effect whether your pads are in Group mode or in Keyboard mode. 7.4.6 Cut, Copy, and Paste Events/Notes You can also cut, copy and paste selected events to another location in the same Pattern or to...
Page 375 Working with Patterns Editing Events Pasting Rules The location at which the cut or copied events will be pasted depends on the following: ▪ In any case the first pasted event will be quantized to the current Step Grid, and the fol- lowing pasted events will retain their time offset to this first event.
Page 376 Working with Patterns Editing Events ◦ If you have changed the Sound focus without changing the playhead position, events are inserted at the same timings as the original events. In Group view the events cop- ied from the topmost Sound in the Sound List are pasted onto the focused Sound, and the other events will retain their vertical position relative to these topmost events.
Page 377: Quantizing Events/Notes
Working with Patterns Editing Events 7.4.7 Quantizing Events/Notes Quantization is the process of moving events to the closest steps. You can quantize your notes at any time, no matter how you recorded them. They will be quantized according to the step size (i.e.
Page 378 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: Select the events in the Pattern Editor you want to quantize. If nothing is selected, the whole Pattern will be quantized.
Page 379: Quantization While Playing
Working with Patterns Editing Events To apply full or half quantization: Select the events you wish to quantize. If nothing is selected, the whole Pattern content will be quantized. See ↑7.4.3, Selecting Events/Notes to know how to select events. To apply full quantization to the selected events, press SHIFT + pad (QUANTIZE).
Page 380: Doubling A Pattern
Working with Patterns Editing Events Choosing an Input Quantization Mode In the software the Input Quantization can be configured via the Quantize setting available in Input section at the bottom of the General page in the Preferences panel: Click the Quantize menu and select the desired Input Quantization mode from the three ►...
Page 381: Adding Variation To Patterns
Working with Patterns Editing Events 7.4.10 Adding Variation to Patterns Variation provides an abundance of inspiration and even “happy accidents” when applied to your workflow. The variation engine contains two modes: ▪ Humanize: This mode adds natural rhythmic fluctuations to programmed sequences. ▪...
Page 382 Working with Patterns Editing Events Element Description Velocity Lo Adjust notes with a velocity no lower than the set value. Velocity Hi Adjust notes with a velocity no higher than the set value. TIME SHIFT Step Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here.
Page 383 Working with Patterns Editing Events Element Description CHORDS (Keyboard mode) Note Count Set the amount of notes that are available to make up a chord per step. This is also calculated in relation to Note Count set in the DISTRIBUTIONS section.
Page 384: Recording And Editing Modulation
Working with Patterns Recording and Editing Modulation Element Description Notes Equal: Notes will be evenly distributed across the Pattern in accordance with the Step Grid. (Keyboard mode) Gauss: Notes are more is likely to be distributed to the middle part of the note range.
Page 385 Working with Patterns Recording and Editing Modulation Modulation vs. Automation Although both deal with automatic change of MASCHINE parameters, modulation and automa- tion have to be distinguished. The following table summarizes the main differences: Modulation Automation Source of control Internal (e.g., changes External (e.g., an external recorded via Auto-write) MIDI sequencer or an...
Page 386: Which Parameters Are Modulatable
Working with Patterns Recording and Editing Modulation 7.5.1 Which Parameters Are Modulatable? All the modulatable parameters are found in Plug-ins or Channel properties (e.g., you cannot modulate the Pattern Length or the Step Grid resolution). This means that all modulatable pa- rameters are found in a Parameter page of the Control area (when the software is in Arrange view).
Page 387: Recording Modulation
Working with Patterns Recording and Editing Modulation Also note that your Macro Controls will be modulatable if, and only if, their target parameters are themselves modulatable. For more information on Macro Controls please refer to section ↑8.3, Creating Custom Sets of Parameters with the Macro Controls.
Page 388 Working with Patterns Recording and Editing Modulation To remove the entire modulation for a knob, simply right-click (on macOS: [Ctrl]+click) ► its outer ring. You can also create and edit modulation tracks directly in the Control Lane. See section ↑7.2.2, The Record Prepare Mode for more information.
Page 389: Creating And Editing Modulation In The Control Lane
Working with Patterns Recording and Editing Modulation 7.5.3 Creating and Editing Modulation in the Control Lane You can also create, select, and edit individual modulation points in the Modulation pane of the Control Lane. Displaying the Modulation Pane in the Control Lane To see and edit modulation for parameters of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND...
Page 390 Working with Patterns Recording and Editing Modulation ▪ The left part shows the Modulator List showing all parameters currently modulated in the focused Sound or Group. Click any entry to display the modulation track for that parameter on the right. Click the “+” symbol at the end of the list to add a modulation track for an- other parameter (see below).
Page 391 Working with Patterns Recording and Editing Modulation The Edit Mode selector. All actions in the Control Lane are quantized according to the Step Grid. For more information on the Step Grid, please refer to section ↑7.1.7, Adjusting the Step Grid and the Nudge Grid.
Page 392 Working with Patterns Recording and Editing Modulation Adding a Modulation Track As soon as you record modulation for a new parameter in the software or from your controller, a new modulation track is automatically created and contains your recorded movements in form of modulation points.
Page 393 Working with Patterns Recording and Editing Modulation Once you have selected a parameter in the menu the parameter name appears in place of Modulator X in the Modulator List and the modulation track on the right is editable. In the modulation track you can now add and edit modulation points for the selected pa- →...
Page 394: Creating Midi Tracks From Scratch In Maschine
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE Removing a Modulation Track To remove a modulation track, hover its entry in the Modulator List with the mouse and ► click the little cross that appears on its right. The modulation track and its entry in the Modulator List are removed from the Modula- →...
Page 395 Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE Create MIDI tracks in the MIDI pane of the Control Lane. Click the desired Sound in the Sound List on the left of the Pattern Editor. 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.
Page 396: Managing Patterns
Working with Patterns Managing Patterns You will notice that one MIDI track is always present in the MIDI pane: the Velocity track. This track holds the velocities for all the events for the focused Sound in the Pat- tern. You cannot delete the Velocity track.
Page 397 Working with Patterns Managing Patterns Use the Pattern Manager to manage your Patterns. ▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots containing a Pattern show a colored bar on the left along with the Pattern name. The other slots contain no Pattern.
Page 398 Working with Patterns Managing Patterns Closing the Pattern Manager To close the Pattern Manager, click anywhere outside it. ► The Pattern Mode on Your Controller The Pattern mode is where you select and manage your Patterns. To enter Pattern mode on your controller, press and hold PATTERN (you can pin it by ►...
Page 399: Selecting Patterns And Pattern Banks
Working with Patterns Managing Patterns 7.7.2 Selecting Patterns and Pattern Banks In the topmost row of the Pattern Editor, you can see on the left the name of the Pattern se- lected: The selected Pattern is named Basics. Selecting a Pattern: Open the Pattern Manager (see ↑7.7.1, The Pattern Manager and Pattern Mode).
Page 400 Working with Patterns Managing Patterns The selected Pattern is loaded in the Pattern Editor and its events appear in the Event → area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the cur- rent Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑14.3, Using Arranger View for more on this).
Page 401: Creating Patterns
Working with Patterns Managing Patterns 7.7.3 Creating Patterns First of all, you don’t need to explicitly create a new empty Pattern before filling it with events: ▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the software or by recording pads on your controller) a new Pattern will be created for it! See section ↑7.4.2, Creating Events/Notes...
Page 402 Working with Patterns Managing Patterns A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in → the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ↑14.3, Using Arranger View more on this).
Page 403: Deleting Patterns
Working with Patterns Managing Patterns 7.7.4 Deleting Patterns To delete a Pattern: Open the Pattern Manager (see ↑7.7.1, The Pattern Manager and Pattern Mode). 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.
Page 404: Creating And Deleting Pattern Banks
Working with Patterns Managing Patterns Press Button 7 and 8 to select the desired Pattern bank. Press the pad corresponding to the Pattern you want to delete. Press Button 6 (DELETE). The Pattern is deleted. → Alternate Method Press and hold PATTERN to enter Pattern mode.
Page 405 Working with Patterns Managing Patterns 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. →...
Page 406: Naming Patterns
Working with Patterns Managing Patterns If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 7.7.6 Naming Patterns You can replace the Patterns’ default names with custom names of your own. This can be done in the Pattern Editor, in the Pattern Manager or in the Arranger.
Page 407 Working with Patterns Managing Patterns On the right of the Pattern slot, click the little pen icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Rename from the context menu: The Pattern name gets highlighted and editable.
Page 408: Changing The Pattern's Color
Working with Patterns Managing Patterns Double-click any Clip referencing the Pattern you want to name. The Clip turns to a text field and waits for your input. 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 →...
Page 409: Duplicating, Copying, And Pasting Patterns
Working with Patterns Managing Patterns 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. Select the desired color in the Palette.
Page 410 Working with Patterns Managing Patterns 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. Right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Duplicate from the context menu: A Pattern copy is inserted right after the original Pattern in the Pattern bank —...
Page 411 Working with Patterns Managing Patterns Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from the slot’s context menu: Select the Group in which you want to paste the Pattern’s content. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again.
Page 412: Moving Patterns
Working with Patterns Managing Patterns The Pattern is copied to the target pad. The target pad starts flashing and you can further → copy/paste it to other slots! This procedure has following benefits: ▪ You can paste the copy into the Pattern slot of your choice — empty or not. If the target Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
Page 413: Adjusting Pattern Length In Fine Increments
Working with Patterns Managing Patterns While holding the mouse button, drag your mouse toward the desired location. As the mouse cursor moves, the potential target slots are highlighted or an insertion line appears at the potential places between slots where you can drop the Pattern slot. When the desired slot is highlighted or when the insertion line appears at the desired lo- cation, release the mouse button.
Page 414: Importing/Exporting Audio And Midi To/From Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Pressing SHIFT temporarily allows the Pattern Length to be adjusted in finer increments → according to the value of the Step Grid. Importing/Exporting Audio and MIDI to/from Patterns In the Pattern Editor you can quickly export MIDI and audio from Patterns and import MIDI to Patterns via drag and drop.
Page 415: Exporting Midi From Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns If you want to export a single Sound in the Group, you can switch the Pattern Editor to Keyboard view, put the focus on the desired Sound, and check that this Sound is not muted (see section ↑5.4.1, Mute and Solo) —...
Page 416 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can export MIDI files using two methods: via drag-and-drop or via the Group/Sound con- text menu. Exporting MIDI via Drag-and-Drop You can render the selected Pattern to a MIDI file by simply dragging it onto the target location on your operating system or directly into a MIDI channel of your host software: Select the Pattern you want to export MIDI from (see section ↑7.7.2, Selecting Patterns...
Page 417 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Select the Pattern you want to export MIDI from (see section ↑7.7.2, Selecting Patterns and Pattern Banks). To export MIDI from the entire Group, switch the Pattern Editor to Group view and right- click ([Ctrl]-click on macOS) the desired Group in the Group List (left of the Arranger) to open its context menu.
Page 418: Importing Midi To Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 7.8.3 Importing MIDI to Patterns You can import MIDI files (extension “.mid”) to Patterns. This allows you to use in MASCHINE MIDI files prepared with another application. This function is only available in the software. Importing MIDI data into a Pattern that already contains data (note, modulation tracks, and MIDI tracks) will replace that data.
Page 419 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 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.
Page 420 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 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 im- →...
Page 421 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 en- sures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦...
Page 422 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import MIDI… from the context menu. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer and click Open to confirm.
Page 423 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 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 im- →...
Page 424 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Open the FILES pane of the Browser and navigate to the desired MIDI file (see section ↑3.6, Loading and Importing Files from Your File System to know how to use the FILES pane).
Page 425 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Select multiple MIDI files in your operating system or in the FILES pane of the Browser. 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 →...
Page 426 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 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.
Page 427: Audio Routing, Remote Control, And Macro Controls
Audio Routing, Remote Control, and Macro Controls Audio Routing, Remote Control, and Macro Controls This chapter describes a few important topics and features of MASCHINE’s routing and assign- ment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪...
Page 428: Audio Routing In Maschine
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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, hi- erarchical way: ▪...
Page 429: Sending External Audio To Sounds
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.
Page 430 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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.
Page 431 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Source Selects an external audio input to be routed to the Sound. Available entries are None (no external input) and the four external stereo inputs Ext. 1–4, as well as any additional output(s) of multiple- output Plug-ins loaded in other Sounds of the same Group.
Page 432 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Check that the 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.
Page 433 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. This is equivalent to setting the Source parameter described above.
Page 434: Configuring The Main Output Of Sounds And Groups
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any. Similarly, by default the outputs of all Groups are sent to the Master, where they are mixed together and processed by the Plug-ins loaded in the Master, if any.
Page 435 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output proper- ties in the software and from your controller. Controls Description AUDIO Section...
Page 436 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Defines the pan position of the channel in the stereo field. Audio Mute (Sounds If you enable Audio Mute, muting this Sound will not only bypass only) its events but also mute its audio output, thereby muting any audio tails from notes already played.
Page 437 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Group mode. In Keyboard mode, the knobs are not visible.
Page 438 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Navigate to the channel of which you want to configure the output: for a Sound click the header of its parent Group (or double-click it if the Mixer currently displays the Group channel strips), and for a Group simply ensure that its channel strip is visible (double- click the Group header if the Mixer currently displays the Sound channel strips).
Page 439: Setting Up Auxiliary Outputs For Sounds And Groups
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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.
Page 440 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. The AUX page of the Output properties (here for a Group) on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the...
Page 441 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Level Adjusts the level of the signal sent to the Aux 1 or Aux 2 output. Order Order is set to Pre, the channel will be fed into Aux 1 or Aux 2 before the Level settings of the...
Page 442 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Check that the 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. Navigate to the channel of which you want to configure an auxiliary output: for a Sound click the header of its parent Group (or double-click it if the Mixer currently displays the Group channel strips), and for a Group simply ensure that its channel strip is visible (dou-...
Page 443: Configuring The Master And Cue Outputs Of Maschine
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. Set the pre/post state of the auxiliary output by clicking the Post (or Pre) label right under the menu.
Page 444 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Audio page of the Output properties for the Master in the software. The AUDIO page of the Output properties for the Master on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the...
Page 445 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description CUE Section Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1– 16. By selecting a different output from the one used for the main stereo output, you can effectively pre-listen on this additional output (e.g., on your headphones) any channel(s) currently sent to the Cue bus.
Page 446 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath.
Page 447 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE To adjust the level and panoramic position of the main output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level parameters in the MAIN section, respectively...
Page 448 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Click the headphone icon in the strip’s header to show the controls for the Cue channel. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively.
Page 449: Mono Audio Inputs
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.5 Mono Audio Inputs Each Sound can be configured to receive external stereo or mono audio signals. You may use audio signals from outside MASCHINE (from your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used in plug-in mode).
Page 450: Configuring External Inputs For Sounds In Mix View
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 8.1.5.1 Configuring External Inputs for Sounds in Mix View You can also easily send stereo or mono external audio to Sounds in MASCHINE’s Mixer: Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer:...
Page 451 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Check that the 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. If the Mixer currently displays the Group channels, in the top row of the Mixer double- click the header of the Group containing the Sound you want to configure.
Page 452 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE ⇨ The Mixer displays the channel strips of all Sounds in the selected Group. MASCHINE - Manual - 452...
Page 453 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. ⇨...
Page 454: Using Midi Control And Host Automation
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 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. Incoming MIDI and Host Automation MASCHINE’s Master, Groups and Sounds can be controlled via MIDI and the host (when MA- SCHINE is running as a plug-in), both globally and individually: ▪...
Page 455: Triggering Sounds Via Midi Notes
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.
Page 456 1 and all incoming notes on channel 2 (according to the two rules described above). ▪ The MIDI input settings described here also affect other MASCHINE features: ◦ The preset selection via MIDI Program Change for Native Instruments and External Plug-ins. See section ↑8.2.4, Selecting VST/AU Plug-in Presets via MIDI Program Change for more information.
Page 457 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Input properties (here for a Group) on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI page of the Input properties...
Page 458 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Channel Selects the MIDI channel on which the Sound or Group will receive MIDI notes. If you select All (default setting), the Sound or Group will receive MIDI notes from all channels.
Page 459 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Check that the button is active on the left of the Mixer —...
Page 460 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation This is equivalent to setting the Source parameter described above. If MASCHINE is running as a plug-in you see a MIDI IN button instead. Click it to enable the MIDI input from the host.
Page 461: Triggering Scenes Via Midi
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation For more information on how to trigger MASCHINE 2 sounds via MIDI Notes in a host Sequencer refer to this Knowledge Base Article: http://www.native-instruments.com/ knowledge/questions/1780/. 8.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes.
Page 462: Controlling Parameters Via Midi And Host Automation
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 8.2.3 Controlling Parameters via MIDI and Host Automation You can assign many parameters of the Channel properties and Plug-ins located in your various channels (Sounds, Groups, and Master) of your Project to MIDI messages in order to control and automate them via MIDI.
Page 463 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation This section describes how to use automation in MASCHINE — for more information on using modulation, please refer to section ↑7.5, Recording and Editing Modulation. Please note that modulation and automation are not mutually exclusive: You can modulate a parameter in MASCHINE and automate it (e.g., from your host) simultaneously! As a result, the parameter value will deviate (according to the recorded modulation) from its moving value defined by the automation.
Page 464 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation MASCHINE 1.x owners: In previous MASCHINE versions MIDI/host automation was only possible via the Macro Controls. Now MIDI/host automation and Macro Controls are un- related: MIDI/host automation can be configured directly on parameters, independently of your Macro Control assignments.
Page 465 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host auto- mation IDs to MASCHINE parameters. Which MASCHINE Parameters Are Automatable? All the automatable parameters are found in Plug-ins or Channel properties (e.g., you cannot automate the Pattern Length or the color of a Scene).
Page 466 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation You will notice that the rules for automatable parameters are the same as for modulata- ble parameters except that modulatable parameters can only be found in Sounds and Groups (not in the Master).
Page 467 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Click the Enable label in the Assignment field under any unassigned parameter to auto- matically assign that parameter to the next free automation ID. The Assignment field displays the automation ID for that parameter. The parameter is →...
Page 468 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Click the down-pointing arrow in the bottom left corner of the Control area to open the Assignment area underneath. On the left of the area, click the Automation tab to show the Automation...
Page 469 The MIDI assignment is removed from the Assignment field and the parameter is not con- → trollable via MIDI anymore. Of course, this procedure also works for Native Instruments and External Plug-ins loaded in MASCHINE. MASCHINE - Manual - 469...
Page 470: Selecting Vst/Au Plug-In Presets Via Midi Program Change
8.2.4 Selecting VST/AU Plug-in Presets via MIDI Program Change If you have a Native Instruments or third-party VST/AU plug-in loaded in a Sound, you can re- motely switch presets (or patches, programs, etc.) in your plug-in via MIDI Program Change messages.
Page 471 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI output of Sounds is configured on the MIDI page of the Output properties for Sounds. MIDI page of the Output properties is available for Sounds only. MASCHINE 1.x owners: The MIDI page of the Sound Output properties replaces and ex-...
Page 472 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description MIDI Section Dest. Selects the MIDI port on which the Sound will send MIDI data. If MASCHINE is running in stand-alone mode, available entries are None (MIDI output disabled, default setting), every enabled MIDI output port, as well as any Sound in the same Group containing a Plug-in that can receive MIDI (multitimbral Plug-in).
Page 473 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Check that the 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.
Page 474 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 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.
Page 475: Creating Custom Sets Of Parameters With The Macro Controls
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls 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.
Page 476: Macro Control Overview
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Macro properties in the software and from your controller.
Page 477: Assigning Macro Controls Using The Software
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Press MACRO to directly switch to the Macro Controls of the focused channel (Sound, Group or Master). 8.3.2 Assigning Macro Controls Using the Software Macro Controls can be assigned in two different ways.
Page 478 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Assigning Macro Controls Using the Pages Pane Assigning Macro Controls is done in the Pages pane of the Assignment area when the Macro properties are selected. The procedure is similar to the procedure used when assigning param- eters of VST/AU plug-ins to Parameter pages in MASCHINE (see section ↑6.3.3, Setting Up Your Own Parameter...
Page 479 Parameter pages are not editable, and the Pages tab is grayed out and in- active. For more information on how to assign parameters of Native Instruments or Ex- ternal Plug-ins to Parameter pages, please refer to ↑6.3.3, Setting Up Your Own Param- eter Pages.
Page 480 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its section(s) — if there are more than one section, the page label will mirror all of them, separat- ed by slashes.
Page 481 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls and if you are editing the Macros of a Group you will see the Sounds subcategory listing all Sounds in that Group, and if you are editing the Macro properties of a Sound you will see the MIDI menu item which upon selection lists all available Control Change messages that can be assigned to a Macro Control.
Page 482 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro.
Page 483: Assigning Macro Controls Using The Controller
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control Area Assignment Pages context menu. The context menu contains the following items: Menu Item Description Keyboard Shortcuts Delete Deletes current Page with all assignments.
Page 484 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The parameter is assigned as a Macro and a small icon will appear next to the parameter → name. You can see the Macro assignments for each level by pressing the MACRO button on your con- troller and selecting the Macro level (MASTER,...
Page 485: Controlling Your Mix
Controlling Your Mix Mix View Basics 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 bot- tom.
Page 486: Mix View Elements
Controlling Your Mix Mix View Basics The Mix View button. Click the Mix View button at the top left of the Arranger to switch between the Arrange ► view and the Mix view. Press the MIXER button to display Mix view on the controller. Press the MIXER button ►...
Page 487 Controlling Your Mix Mix View Basics The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom. (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project.
Page 488: The Mixer
Controlling Your Mix The Mixer The Mixer Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and routing settings of different channels in one go. The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
Page 489: Displaying Groups Vs. Displaying Sounds
Controlling Your Mix The Mixer ▪ Which of the Sound or Group level is selected for displaying: ↑9.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑9.2.2, Adjusting the Mixer Layout.
Page 490 Controlling Your Mix The Mixer In this mode the desk’s input strips (1) represent all Groups of your Project, while the output strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the headers of all your Groups and of the Master/Cue channel (3).
Page 491: Adjusting The Mixer Layout
Controlling Your Mix The Mixer If the Mixer was displaying Sound strips beforehand, it will display all Group strips in- → stead, and the Group you have double-clicked will be focused. If the Mixer was displaying Group strips beforehand, it will instead display all Sound strips of the Group that you have double-clicked.
Page 492: Selecting Channel Strips
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 Mix- er allows you to select which sections you want to show or hide in the strips currently dis- played.
Page 493: Managing Your Channels In The Mixer
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.
Page 494 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).
Page 495: Adjusting Settings In The Channel Strips
Controlling Your Mix The Mixer 9.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the var- ious 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.
Page 496 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 —...
Page 497 Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ↑9.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ↑9.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel).
Page 498 Controlling Your Mix The Mixer This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange view. For all details, see section ↑6.1, Plug-in Overview. (5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue state.
Page 499: Using The Cue Bus
Controlling Your Mix The Mixer (8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if 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.
Page 500 Controlling Your Mix The Mixer ▪ Pre-listening to Samples in the Browser (see section ↑3.3.3, Auditioning Samples). ▪ Metronome (see section ↑7.2.3, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ↑15.2.2, Select- ing the Source and the Recording Mode) or slicing Samples (see section ↑15.4, Slicing a Sample).
Page 501: The Plug-In Chain
Controlling Your Mix The Plug-in Chain 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.
Page 502: The Plug-In Strip
↑6.1.5, Bypassing Plug-in Slots more information. ▪ Right-click (macOS: [Ctrl]-click) a Plug-in name and use the Open…, Save As…, and Save As Default… (Native Instruments and External Plug-ins only) commands to manage your Plug-in presets. See section ↑6.1.9, Saving and Recalling Plug-in Presets ↑6.3.4, Us-...
Page 503 Native Instruments product: ↑9.4.4, Custom Panels for Native Instruments Plug-ins. ▪ Native Instruments and External Plug-ins can also be undocked and opened in a floating window: ↑9.4.5, Undocking a Plug-in Panel (Native Instruments and External Plug-ins On- ly).
Page 504: The Plug-In Header
Use the vertical scroll bar to display the rest of the Plug-in. 9.4.1 The Plug-in Header For all types of Plug-ins (Internal, Native Instruments, and External) the Plug-in panel displays a Plug-in Header at the top: MASCHINE - Manual - 504...
Page 505 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑9.4.4, Cus-...
Page 506: Panels For Drumsynths And Internal Effects
Controlling Your Mix The Plug-in Strip 9.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top.
Page 507: Panel For The Sampler
Controlling Your Mix The Plug-in Strip For an exhaustive description of the parameters available in each panel, please refer to chapter ↑10, Using the Drumsynths for Drumsynths and chapter ↑13, Effect Reference for Internal Ef- fects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a conse- quence, the value of modulated parameters might change even if their control element doesn’t move in the panel.
Page 508 Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN 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...
Page 509 Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parame- ters from the Pitch/Envelope page in the Control area. For more details, see section ↑6.2.2, Page 2: Pitch / Envelope.
Page 510: Custom Panels For Native Instruments Plug-Ins
9.4.4 Custom Panels for Native Instruments Plug-ins The panels for Native Instruments Plug-ins provide an extra feature: one or two custom views that group the most important parameters of the Plug-in into a clear and concise interface while retaining the overall feel and look of each Native Instruments product: ▪...
Page 511 Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of AB- SYNTH 5: MASCHINE - Manual - 511...
Page 512 Controlling Your Mix The Plug-in Strip ▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE - Manual - 512...
Page 513 ▪ 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 —...
Page 514: Undocking A Plug-In Panel (Native Instruments And External Plug-Ins Only)
Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) You can undock the panel of a Native Instruments or External Plug-in and open it in its own floating window by clicking the little diagonal arrow in the Plug-in Header: Click the little diagonal arrow to open the Plug-in in a floating window.
Page 515 The Plug-in floating window is the same as in Arrange view — see section ↑6.3.1, Open- ing/Closing Plug-in Windows for more on this. Undocking a Native Instruments Plug-in When you open a Native Instruments Plug-in its own floating window, following things addi- tionally happen: MASCHINE - Manual - 515...
Page 516 Edit view, which shows the full interface of the original Native Instruments product: Closing the Plug-in’s Floating Window To dock a Native Instruments or External Plug-in back into the Plug-in Strip and close its ► dedicated floating window, click the little diagonal arrow in the Plug-in placeholder (Na- tive Instruments Plug-ins) or in the header of the generic Plug-in panel (External Plug- ins) in the Plug-in Strip.
Page 517: Controlling Your Mix From Your Controller
Controlling Your Mix Controlling Your Mix from Your Controller Controlling Your Mix from Your Controller Your controller provides a dedicated Mix mode. The Mix mode provides an overview of your channels via a mixing desk layout, similarly to the Mixer in the software’s Mix view (see section ↑9.2, The Mixer).
Page 518: Adjusting The Level And Pan In Mix Mode
Controlling Your Mix Controlling Your Mix from Your Controller Alternatively you can focus Groups and Sounds by pressing the Group buttons and the pads as in Control mode. If you set the focus to a Sound or Group not visible on the displays, these automatically switch to the relevant set of eight channels: for example if you are viewing Sound channels 1–8...
Page 519: Mute And Solo In Mix Mode
Controlling Your Mix Controlling Your Mix from Your Controller If you want to adjust the level of a Sounds, switch to the Sound view by pushing the 4-D encoder downwards. If you want to adjust the panoramic position of a Sound, press the 4-D encoder and turn it counterclockwise to pan the Sound to the left or clockwise to pan the Sound to the right.
Page 520: Plug-In Icons In Mix Mode
Controlling Your Mix Controlling Your Mix from Your Controller The strips of muted channels are grayed out in the displays. Even if the displays don’t switch to Mute or Solo mode, the usual procedures for muting and soloing Groups and Sounds stay valid in Mix mode. For more information on the Mute and Solo functions, please refer to section ↑5.4.1, Mute and Solo.
Page 521: Using The Drumsynths
Using the Drumsynths 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.
Page 522: Drumsynths - General Handling
Using the Drumsynths Drumsynths – General Handling 10.1 Drumsynths – General Handling This section describes the general use and features of the Drumsynths. Managing Drumsynths Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drum- synths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer to section ↑6.1, Plug-in...
Page 523 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.
Page 524 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...
Page 525: Shared Parameters
Using the Drumsynths Drumsynths – General Handling 10.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily.
Page 526: The Kicks
Using the Drumsynths The Kicks For all engines, the Tune parameter lets you define which pitch will be played when hitting the pad of that Sound (with pads in Group mode) or playing the middle C (MIDI note 60) base note.
Page 527 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 sec- tions.
Page 528: Kick - Sub
Using the Drumsynths The Kicks ▪ Bold: ↑10.2.7, Kick – Bold. ▪ Maple: ↑10.2.8, Kick – Maple. ▪ Push: ↑10.2.9, Kick – Push. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑10.1, Drumsynths –...
Page 529 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.
Page 530: Kick - Tronic
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc- ity. 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).
Page 531 Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 532 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,...
Page 533: Kick - Dusty
Using the Drumsynths The Kicks 10.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Ar- range view).
Page 534: Kick - Grit
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: Veloc- ity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum.
Page 535 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.
Page 536 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.
Page 537: Kick - Rasper
Using the Drumsynths The Kicks 10.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Ar- range view).
Page 538: Kick - Snappy
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 %).
Page 539 Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Ar- range view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Page 540: Kick - Bold
Using the Drumsynths The Kicks Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc- ity. 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).
Page 541 Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 542: Kick - Maple
Using the Drumsynths The Kicks 10.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix.
Page 543: Kick - Push
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.
Page 544 Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Ar- range view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Page 545: The Snares
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).
Page 546 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 sec- tions.
Page 547: Snare - Volt
Using the Drumsynths The Snares ▪ Vintage: ↑10.3.6, Snare – Vintage ▪ Chrome: ↑10.3.7, Snare – Chrome ▪ Iron: ↑10.3.8, Snare – Iron ▪ Clap: ↑10.3.9, Snare – Clap For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth.
Page 548 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.
Page 549: Snare - Bit
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).
Page 550 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.
Page 551: Snare - Pow
Using the Drumsynths The Snares 10.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Ar- range view).
Page 552: Snare - Sharp
Using the Drumsynths The Snares Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc- ity. 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).
Page 553 Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 554: Snare - Airy
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).
Page 555 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.
Page 556: Snare - Vintage
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).
Page 557 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.
Page 558: Snare - Chrome
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).
Page 559 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).
Page 560: Snare - Iron
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).
Page 561 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.
Page 562: Snare - Clap
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).
Page 563 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 —...
Page 564: 10.3.10 Snare - Breaker
Using the Drumsynths The Snares 10.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mix- es containing heavy bass. The adjustment of the wires spectrum provides a great range of snares.
Page 565 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.
Page 566: The Hi-Hats
Using the Drumsynths The Hi-hats 10.4 The Hi-hats The Hi-hat Drumsynth can generate a variety of hi-hat sounds. The Hi-hat in the Control area (Main page depicted). The Hi-hat panel in the Plug-in Strip. MASCHINE - Manual - 566...
Page 567: Hi-Hat - Silver
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 sec- tions. The Hi-hat provides following engines: ▪...
Page 568 Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 569: Hi-Hat - Circuit
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: Veloc- ity. Element Description SCALE Section Velocity Adjusts the velocity response of the drum.
Page 570 Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑10.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage.
Page 571: Hi-Hat - Memory
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.
Page 572 Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Ar- range view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑9.4, The Plug-in Strip for more information on this.
Page 573: Hi-Hat - Hybrid
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 574 Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Ar- range view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑9.4, The Plug-in Strip.
Page 575: Creating A Pattern With Closed And Open 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.
Page 576: The Toms
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section ↑5.1.4, Using Choke Groups where Choke groups...
Page 577 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 sec- tions.
Page 578: Tom - Tronic
Using the Drumsynths The Toms For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths – General Handling. 10.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator.
Page 579 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.
Page 580: Tom - Fractal
Using the Drumsynths The Toms Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc- ity. 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).
Page 581 Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑10.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents.
Page 582 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.
Page 583 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).
Page 584: Tom - Floor
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).
Page 585 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.
Page 586: Tom - High
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).
Page 587: The Percussions
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.
Page 588 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 sec- tions.
Page 589: Percussion - Fractal
Using the Drumsynths The Percussions ▪ Fractal (default): ↑10.6.1, Percussion – Fractal. ▪ Kettle: ↑10.6.2, Percussion – Kettle. ▪ Shaker: ↑10.6.3, Percussion – Shaker. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑10.1, Drumsynths –...
Page 590 Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑10.5.1, Tom –...
Page 591 Using the Drumsynths The Percussions Element Description HARMONICS Section KTr. Mode (Key Selects from two key tracking modes: Harmonic (default) and Tracking Mode) 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,...
Page 592: Percussion - Kettle
Using the Drumsynths The Percussions Modulation Page As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc- ity. 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).
Page 593 Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑10.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 594: Percussion - Shaker
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).
Page 595 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 %).
Page 596 Using the Drumsynths The Percussions Element Description Accent (Performer Controls the amount of emphasis on certain notes within the shaker mode only) 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.
Page 597 Using the Drumsynths The Percussions Element Description Sync 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.
Page 598: The Cymbals
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).
Page 599 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 600: Cymbal - Crash
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑10.7.1, Cymbal – Crash. ▪ Ride: ↑10.7.2, Cymbal – Ride. For more information on engines, see ↑10.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑10.1, Drumsynths –...
Page 601 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.
Page 602: Cymbal - Ride
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).
Page 603 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.
Page 604 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).
Page 605: Using The Bass Synth
SCHINE JAM direct from the 8x8 click-pad matrix. For more information on sequencing Bass Synth with MASCHINE JAM, please read the MASCHINE JAM Manual available from the Help menu and Native Instruments website. See section ↑7.5, Recording and Editing Modulation for more information on automa- tion.
Page 606: Bass Synth - General Handling
Using the Bass Synth Bass Synth – General Handling 11.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and proce- dures.
Page 607 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...
Page 608: Bass Synth Parameters
Using the Bass Synth Bass Synth – General Handling 11.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view).
Page 609 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.
Page 610: Using Effects
At each Project level (Sound, Group and Master) it is possible to add effects in form of Plug- ins. 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.
Page 611 Using Effects Applying Effects to a Sound, a Group or the Master Choose the Channel in Which the Effect Is to Be Inserted 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.
Page 612 Using Effects Applying Effects to a Sound, a Group or the Master Load the Effect in a New Slot 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.
Page 613 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.
Page 614 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.
Page 615 Using Effects Applying Effects to a Sound, a Group or the Master 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: 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.
Page 616 Using Effects Applying Effects to a Sound, a Group or the Master 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 con- taining the desired Sound, then click the header of the desired Sound in the row below.
Page 617 On the left display, turn Knob 1 to select the TYPE from Internal, or External. The right display shows the list of available Internal, Native Instruments or External Plug- ins, respectively. If you have selected the first Plug-in slot of a Sound, turn Knob 2 to set the SUBTYPE Effect.
Page 618 Using Effects Applying Effects to a Sound, a Group or the Master 10. When you have found the effect you want to use, press the jog wheel or Button 8 (LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each effect directly.
Page 619: Other Operations On Effects
Using Effects Applying Effects to a Sound, a Group or the Master 12.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably in- cludes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc.
Page 620 For detailed information on these topics, please refer to ↑6.1, Plug-in Overview. You will find more details on the specific operations available for Native Instruments and External Effects in section ↑6.2.6, Page 6: Velocity / Modwheel.
Page 621: Using The Side-Chain Input
+ Button 2 (EDIT). You will find more details on Plug-in operation in section ↑6.1, Plug-in Overview. You will find more details on the specific operations available for Native Instruments and External Effects in section ↑6.2.6, Page 6: Velocity / Modwheel.
Page 622 The following Internal, Native Instruments, and External Plug-ins support side-chaining: ▪ Internal Plug-ins: Compressor, Maximizer, Limiter, Gate, Filter. ▪ AU plug-ins (Native Instruments and External): Any AU plug-in with side-chain input. ▪ VST plug-ins (Native Instruments and External): Any VST plug-in with multiple inputs.
Page 623 Using Effects Applying Effects to a Sound, a Group or the Master The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access Parameter pages. The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
Page 624: Applying Effects To External Audio
Using Effects Applying Effects to External Audio Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.
Page 625 Using Effects Applying Effects to External Audio If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from your host on any of its eight mono virtual inputs. To know how to route audio in your host to the virtual inputs of the MASCHINE plug-in, please refer to your host documentation.
Page 626 Using Effects Applying Effects to External Audio Any audio source plugged into the first input of your audio interface will be available on the In 1 L input of MASCHINE, and so on. ↑2.6.2, Preferences – Audio Page for more information on the Audio page of the Preferences panel.
Page 627: Step 2: Set Up A Sound To Receive The External Input
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 re- ceive 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.
Page 628 Using Effects Applying Effects to External Audio Turn Knob 1 to set the SOURCE Ext. Now the external audio is routed to your Sound! You can adjust the level of the incoming → signal by turning Knob 2 (GAIN). Method 2: Using the Navigate Page Press Button 5 repeatedly until the Input properties are selected (you should see INPUT at the top left of the right display, under Button 5/6).
Page 629: Step 3: Load An Effect To Process An Input
Using Effects Applying Effects to External Audio Now the external audio is routed to your Sound! You can adjust the level of the incoming → signal by turning Knob 2 (GAIN). 12.2.3 Step 3: Load an Effect to Process an Input Here we describe the procedure in Arrange view.
Page 630 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.
Page 631: Creating A Send Effect
Using Effects Creating a Send Effect The selected effect is loaded in a new Plug-in slot and directly starts to process your ex- → ternal audio! By pressing PLUG-IN SHIFT BROWSE again you can switch back to Control mode and adjust the effect. 12.3 Creating a Send Effect Sometimes you may want to have a classic send effect, for example a reverb which can be...
Page 632 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.
Page 633 Using Effects Creating a Send Effect Upon selection the effect is loaded and its parameters are displayed in the Parameter → area. When you load an effect into the first Plug-in slot of a Sound, MASCHINE automati- cally configures the Sound’s input to receive any signal(s) coming from other Sounds and Groups in your Project and sends them through its own Plug-in slots —...
Page 634 Plug-in Browser and browse the available Instrument and Effect Plug-ins. Turn Knob 1 (TYPE) to choose between MASCHINE internal instruments and effects (In- ternal), VST/AU plug-ins from Native Instruments (NI) or VST/AU plug-ins from third-party manufacturers (External). Turn Knob 2 to set SUBTYPE to Effect.
Page 635: Step 2: Route Audio To The Send Effect
Using Effects Creating a Send Effect 10. Switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT BROWSE again). Now you can edit the effect parameters using Knobs 1–8 and the Page buttons as usual → (see ↑2.3.8, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area).
Page 636 Using Effects Creating a Send Effect Here we describe the procedure in Arrange view. You can also do this in Mix view — see section ↑8.1.2, Configuring the Main Output of Sounds and Groups. You can repeat the process to route more Sounds/Groups to the same send effect, or route the same Sound/Group to an additional send effect send using Routing Audio to the Send Effect on the Controller Press the...
Page 637 Using Effects Creating a Send Effect Press the right Page button to select the page of parameters. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect. In addition to the usual entries available in both fields, you will find all the Sounds and Groups with an Effect Plug-in loaded in their first Plug-in slot —...
Page 638: A Few Notes On Send Effects
Using Effects Creating a Send Effect 12.3.3 A Few Notes on Send Effects When working with send effects, please keep in mind the following: ▪ You cannot send the Master output to send effects. ▪ You cannot send a send effect’s output to itself, nor the output of a Group to one of its own Sounds.
Page 639: Creating Multi-Effects
Using Effects Creating Multi-Effects 12.4 Creating Multi-Effects Creating a multi-effect unit is basically the same thing as creating a series of Sounds as send effects within a Group and arrange them as you see fit. Following the procedure described in the previous section ↑12.3, Creating a Send Effect, in every Sound of the Group you can set...
Page 640 Using Effects Creating Multi-Effects Which of the Main, Aux 1, and Aux 2 Output To Use? Each Sound provides three distinct outputs: Main, Aux 1, and Aux 2. If you want to build a series of effects split across several Sounds, for each Sound in the series you have to send one of these outputs to the input of the next Sound.
Page 641 Using Effects Creating Multi-Effects Groups of the Multi FX type in the LIBRARY pane. MASCHINE - Manual - 641...
Page 642: Effect Reference
Effect Reference 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 in- strument, vocals or a turntable.
Page 643: Dynamics
Effect Reference Dynamics 13.1 Dynamics 13.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dy- namic range.
Page 644 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 knee- dependent ratio and gain give this mode a typical vintage feel.
Page 645 Effect Reference Dynamics The Compressor on the controller: MAIN page. Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page. MASCHINE - Manual - 645...
Page 646 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., Drums: Kick)
Page 647: Gate
Effect Reference Dynamics The Compressor on the controller: SIDE-CHAIN INPUT page. Level Meters in the Compressor Panel (Plug-in Strip) In the Plug-in Strip, the Compressor panel offers a few extra features not available in the Con- trol area: ▪ The Threshold Gain faders (corresponding to the...
Page 648 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.
Page 649 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 lets you adjust the amount of the effect in relation to the dry original audio signal. The Gate on the controller: MAIN page.
Page 650 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., Drums: Kick)
Page 651: Transient Master
Effect Reference Dynamics Input Level Meter in the Gate Panel (Plug-in Strip) In the Plug-in Strip, the Gate panel offers an extra feature not available in the Control area: 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.
Page 652 Effect Reference Dynamics 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. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur.
Page 653: Limiter
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.
Page 654 Effect Reference Dynamics The Limiter panel in the Plug-in Strip. 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...
Page 655 Effect Reference Dynamics Element Description Release The time the limiter will take to stop limiting after the input signal falls below the threshold. With longer release times it takes more time to get back to normal. Available values can be adjusted in milliseconds from 1.0ms to 500.0ms (default: 1.0ms).
Page 656 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.
Page 657: Maximizer
Effect Reference Dynamics The Limiter on the controller: SIDE-CHAIN INPUT page. 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: Threshold fader (corresponding to the Threshold parameter of the Main...
Page 658 Effect Reference Dynamics The Maximizer panel in the Plug-in Strip. Main Page The Maximizer in the Control area: Main page. 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.
Page 659 Effect Reference Dynamics The Maximizer on the controller: MAIN page. Side-Chain Input Page The Maximizer in the Control area: Side-Chain Input page. MASCHINE - Manual - 659...
Page 660 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., Drums: Kick)
Page 661: Filtering Effects
Effect Reference Filtering Effects The Maximizer on the controller: SIDE-CHAIN INPUT page. 13.2 Filtering Effects 13.2.1 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.
Page 662 Effect Reference Filtering Effects Freq / Gain Page The EQ in the Control area: Freq / Gain page. 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.
Page 663 Effect Reference Filtering Effects Parameter Description Freq Frequency selector for the high frequency band. Ranges from 50 Hz to 20 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. The EQ on the controller: FREQ / GAIN page. Width / Output Page The EQ in the Control area: Width / Output page.
Page 664: Filter
Effect Reference Filtering Effects Parameter Description OUTPUT Section Gain Gain control for the EQ altogether. The EQ on the controller: WIDTH / OUTPUT page. 13.2.2 Filter Filter with selectable characteristics that can be modulated via LFO or envelope. There are many applications for a filter: it can be used to emulate a synthesizer more realistically or to filter out selected frequencies and create filter-sweeps.
Page 665 Effect Reference Filtering Effects Main Page The Filter in the Control area: Main page. Parameter Description TYPE Section Mode Here you can select between four different filter modes: LP (low- pass), BP (band-pass), 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.
Page 666 Effect Reference Filtering Effects Parameter Description Speed Defines the speed of the modulation in note values from 16/1 (one cycle every 16 bars) up to 1/32 note. LFO Shape Defines how the LFO evolves over time. Phase Adjusts the start phase of the LFO. Source: Envelope Decay With...
Page 667 Effect Reference Filtering Effects Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.
Page 668: Cabinet
Effect Reference Filtering Effects The Filter on the controller: SIDE-CHAIN INPUT page. 13.2.3 Cabinet The Cabinet Emulation is a cabinet and microphone component that proves full control over all the (post-amp) stages of recording a guitar tone. Cabinet Emulation includes the four cabinet types, and the variable positioning of six different microphones.
Page 669 Effect Reference Filtering Effects The Cabinet Emulation in the Control area (Main page depicted). 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:...
Page 670: Modulation Effects
Effect Reference Modulation Effects Element Description OUTPUT Section Adjusts the ratio between the effect (wet) signal and original (dry) signals. Available values range from 0.0 to 100.0% (default: 100.0%). 13.3 Modulation Effects 13.3.1 Chorus The Chorus is useful to “thicken” signals and enhance or add stereo content. It is most effec- tive 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).
Page 671: Flanger
Effect Reference Modulation Effects Parameter Description MOD Section Rate Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated. Amount The amount of the Chorus effect. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal.
Page 672 Effect Reference Modulation Effects The Flanger panel in the Plug-in Strip. The Flanger in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Flanger. Feedback Adjusts the amount of output signal fed back into the input. Invert Inverts the Flanger.
Page 673 Effect Reference Modulation Effects Parameter Description Speed (LFO Sync) Defines the speed of the LFO in note values from 16/1 (one cycle every 16 bars) up to 1/16 note. Shape (Envelope) Change the shape of the envelope here. Stereo This parameter widens the stereo field of the effect. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal.
Page 674 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 Split control determines the extent to which the FM effect is applied to high frequencies via a crossover.
Page 675: Freq Shifter
Effect Reference Modulation Effects The FM on the controller. 13.3.4 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 spe- cial chorus.
Page 676: Phaser
Effect Reference Modulation Effects Parameter Description FREQ Section Coarse This is used to define the basic frequency of the Freq Shifter. Fine Fine-tune the frequency here. OUTPUT Section Feedback Adjusts the amount of output signal fed back into the input. Increasing this parameter will increase the intensity of the effect.
Page 677 Effect Reference Modulation Effects 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. 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.
Page 678 Effect Reference Modulation Effects Parameter Description Speed (LFO) Defines the speed of the LFO in a range from 0.03 Hz up to 8 Hz. Speed (LFO Sync) Defines the speed of the LFO in note values from 16/1 (one cycle every 16 bars) up to 1/16 note. Shape (Envelope) Change the shape of the envelope here.
Page 679: Spatial And Reverb Effects
Effect Reference Spatial and Reverb Effects 13.4 Spatial and Reverb Effects 13.4.1 This is a special reverb for getting cold and metallic sound. Ice includes a bank of self-oscillat- ing filters for interesting and colorful effects. In the Project “Come Into My Disco” from the MASCHINE factory library, you can hear how it creates deep soundscapes during the break in Scene 6.
Page 680: Metaverb
Effect Reference Spatial and Reverb Effects Parameter Description The “ICE” factor: higher values sound more metallic. Size Adjust the size of the virtual room here. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal. The Ice on the controller.
Page 681 Effect Reference Spatial and Reverb Effects The Metaverb in the Control area. Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. POSITION Section This pans the dry signal.
Page 682: Reflex
Effect Reference Spatial and Reverb Effects The Metaverb on the controller. 13.4.3 Reflex This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate small, “tight” rooms. At more extreme settings, it can produce interesting artificial, metallic textures.
Page 683 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.
Page 684: Reverb (Legacy)
Effect Reference Spatial and Reverb Effects 13.4.4 Reverb (Legacy) This reverb is best for most common applications. The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural” sound for all sorts of other signals. The Reverb panel in the Plug-in Strip.
Page 685 Effect Reference Spatial and Reverb Effects Parameter Description High High band EQ to cut or boost high frequencies. POSITION Section 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.
Page 686: Reverb
Effect Reference Spatial and Reverb Effects 13.4.5 Reverb The Plate Reverb panel in the Plug-in Strip. 13.4.5.1 Reverb Room The Room mode is suited to drum and percussive sounds, and particularly sounds good when used on snares. Modulate the Room Size, and Pre Delay parameters to create special effects.
Page 687 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.
Page 688 Effect Reference Spatial and Reverb Effects Element Description Diffusion Controls the density of the reflections in the virtual room. A low diffusion setting makes the reflections sound more distinct, like closely spaced echoes. A high diffusion setting creates reflections so close they sound more like noise, in which echoes are indistinguishable.
Page 689: 13.4.5.2 Reverb Hall
Effect Reference Spatial and Reverb Effects 13.4.5.2 Reverb Hall The Reverb Hall mode is a spacious and natural reverb that is particularly suited to tonal sounds. When used with a high Reverb Time setting it provides a very lush reverb making it also suitable for ambient or experimental music.
Page 690 Effect Reference Spatial and Reverb Effects Element Description 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). Reverb Size Adjust the size of the simulated room. Turn clockwise to increase the perceived size of the room and reverb reflections.
Page 691: 13.4.5.3 Plate Reverb
Effect Reference Spatial and Reverb Effects EQ page page contains parameters to adjust the EQ of the reverb. Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz).
Page 692: Delays
Effect Reference Delays Parameter Description Decay Adjusts the damping of the plate, which directly affects the decay time of the reverb. EQ Section Low Shelf Controls the low-frequency content in the reverberated signal. High Damp Adjusts the damping of the high frequencies in the reverberated signal.
Page 693 Effect Reference Delays Main Page The Beat Delay in the Control area: Main page. Parameter Description DELAY Section Time 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).
Page 694 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. lets you adjust the amount of the effect in relation to the dry original audio signal.
Page 695: Grain Delay
Effect Reference Delays The Beat Delay on the controller: UNIT page. 13.5.2 Grain Delay By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is useful for creating ambient textures. Increase Size, Space and Density to quickly transform any sound into an evolving ambient texture.
Page 696 Effect Reference Delays Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher.
Page 697 Effect Reference Delays The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo). MASCHINE - Manual - 697...
Page 698: Grain Stretch
Effect Reference Delays The Grain Delay on the controller: OUTPUT page. 13.5.3 Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the in- coming signal. The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area.
Page 699 Effect Reference Delays Parameter Description MASTER Section 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.
Page 700: Resochord
Effect Reference Delays 13.5.4 Resochord The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord. The results are most effective with non-melodic content (like drums) as the Re- sochord will print its own harmonic content on to any input material. The Resochord panel in the Plug-in Strip.
Page 701 Effect Reference Delays Parameter Description Spread (String mode) Allows you to define how big the difference in tuning is between combs. Style (Chord mode) You can select between different chord-styles such as minor or major. Chord (Chord mode) Here you can choose from different chords to be applied to your audio signal.
Page 702: Distortion Effects
Effect Reference Distortion Effects 13.6 Distortion Effects 13.6.1 Distortion Combining overdrive, feedback and modulation, the Distortion produces a heavy distortion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special because of the feedback it creates. The Distortion panel in the Plug-in Strip. The Distortion in the Control area.
Page 703: Lofi
Effect Reference Distortion Effects Parameter Description 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. OUTPUT Section Gate Gate button is used to cancel out feedback loops introduced by high Feedback settings.
Page 704 Effect Reference Distortion Effects The Lofi panel in the Plug-in Strip. The Lofi in the Control area. Parameter Description RESAMPLE Section 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.
Page 705: Saturator
Effect Reference Distortion Effects The Lofi on the controller. 13.6.3 Saturator The Saturator is a flexible tool allowing you to apply various types of saturations to your signal. The Saturator offers three modes: Classic (legacy mode), Tape, and Tube. You can select the desired mode via the Mode selector.
Page 706 Effect Reference Distortion Effects 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. Input Controls the input gain of the effect.
Page 707 Effect Reference Distortion Effects 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. The Saturator in Tape mode in the Control area.
Page 708 Effect Reference Distortion Effects 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. Charge In Tube mode the Saturator provides a negative feedback loop that attenuates the level at the Saturator’s input according to the amount of low frequencies at its output.
Page 709: Analog Distortion
Effect Reference Distortion Effects Tube Mode – Parameter Description OUTPUT Section Gain Adjusts the output level of the effect. Use this to compensate for changes in volume caused by input gain and signal compression. 13.6.4 Analog Distortion The Analog Distortion be used to add grit to Drums and Percussion, Lead Synths and Guitars. The Analog Distortion panel in the Plug-in Strip.
Page 710: Perform Fx
Effect Reference Perform FX Main Page Element Description MODE Section Mode Select between two distortion modes: Analog Mulholland (default: Mulholland). DISTORTION Section Saturation Sets the amount of saturation applied to the signal. Available values range from 0.0 to 100.0% (default: 25.0%). Bass Attenuates the low frequencies of the distortion effect.
Page 711: Filter
Effect Reference Perform FX ▪ Filter: The Filter is a raw-sounding, analog-modelled LP/BP/HP filter with additional satura- tion parameters and resonance that can be pushed into self-oscillation. For more informa- tion see section Filter. ↑13.7.1, ▪ Flanger: The Flanger is a comb filter effect. It can behave like a standard flanger or phaser but can also go pretty wild and sound more like a creative delay if you push the decay and delay time.
Page 712 Effect Reference Perform FX Filter Perform FX in the Plug-in Strip. Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect. TOUCHSTRIP Section MASCHINE - Manual - 712...
Page 713: Flanger
Effect Reference Perform FX Parameter Description Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes. Resonance Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing.
Page 714 Effect Reference Perform FX Flanger Perform FX in the Plug-in Strip. Flanger Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP MASCHINE - Manual - 714...
Page 715: Burst Echo
Effect Reference Perform FX Parameter Description Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound. STEREO Controls the stereo spread of the effect. Setup Page Parameter Description...
Page 716 Effect Reference Perform FX Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP MASCHINE - Manual - 716...
Page 717 Effect Reference Perform FX Parameter Description Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated.
Page 718: Reso Echo
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter.
Page 719 Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP MASCHINE - Manual - 719...
Page 720 Effect Reference Perform FX Parameter Description Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback. Pump Controls the amount of compression applied to the feedback loop.
Page 721: Ring
Effect Reference Perform FX 13.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick in- dividual notes and keep them ringing into the stratosphere. Ring Perform FX in the Plug-in Strip.
Page 722 Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency.
Page 723: Stutter
Effect Reference Perform FX Setup Page Parameter Description ROUTING Mix Mode Mix mode sets the routing of the signal: ▪ In mode, the dry signal is passed unprocessed and the wet signal is added on top according to the Wet Level parameter.
Page 724 Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP MASCHINE - Manual - 724...
Page 725 Effect Reference Perform FX Parameter Description Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using Assign. TS Assign Assigns the control to Length or Pitch.
Page 726: Tremolo
Effect Reference Perform FX 13.7.7 Tremolo A no-frills tremolo and vibrato effect that’s perfect for creating motion and wobble on the fly. Instantly add expression with multiple modes, Rate, and Depth ranges, and use the Stereo knob to create auto-pan motion effects. Tremolo Perform FX in the Plug-in Strip.
Page 727 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.
Page 728: Scratcher
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...
Page 729 Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP MASCHINE - Manual - 729...
Page 730 Effect Reference Perform FX Parameter Description Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time).
Page 731: Working With The Arranger
Working with the Arranger Arranger Basics Working with the Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header. The MASCHINE Arranger has two different views: Ideas view and Arranger view which are also reflected on your controller.
Page 732 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 time- line or any kind of arrangement. Here you can create Patterns for each Group and combine them into a Scene.
Page 733 Working with the Arranger Arranger Basics Control Area). To mute a Group click the Group letter, for example A1, and right-click ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options available to man- age them.
Page 734: Navigating The Arranger
Working with the Arranger Arranger Basics (4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene as- signed to the Section along with the Scene's Patterns stacked vertically for each Group in the Project.
Page 735 Working with the Arranger Arranger Basics Navigating the Arranger Vertically (Groups) A classic scroll bar is available right of the Arranger. It allows you to scroll to hidden Groups in case all of them don’t fit in the Arranger. The classic scroll bar right of the Arranger. You can also adjust the height of the Arranger in order to display more/less Groups at once by dragging its bottom right corner vertically with your mouse: Drag the handle to adjust the Arranger’s height.
Page 736: Following The Playback Position In Your Project
Working with the Arranger Arranger Basics 14.1.2 Following the Playback Position in Your Project If the Arranger doesn’t display the entire Loop Range currently selected, at some point the playhead will go beyond the portion of your Project currently displayed in the Arranger and you might loose track of the playback position.
Page 737: Jumping To Other Sections
Working with the Arranger Arranger Basics FOLLOW button lights up. In the software the Arranger will now switch to the next → portion of your Project (with the same zoom factor) as soon as the playhead reaches the end of the portion currently displayed. This way, you always see the portion that is cur- rently played.
Page 738 Working with the Arranger Arranger Basics ◦ If Retrigger is disabled (default setting), the next Section that is selected will play from the same offset to the beginning of the Section: e.g., leaving the current Section on beat 3 will cause the new Section to start playing on its beat 3. This ensures that the global groove of your track is not interrupted! 14.1.3.1 Jumping to Other Sections in the MASCHINE Software In the software, the Perform Grid and the Retrigger setting can be adjusted in the MASCHINE...
Page 739: Using Ideas View
Working with the Arranger Arranger Basics The next time you select a new Section or group of Sections for looping, the new loop will → start from the beginning of the first Section (Retrigger enabled) or from the same position as where it left the current Section (Retrigger disabled).
Page 740: Creating Scenes
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. 14.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View To create a new Scene, click the “+”...
Page 741: Assigning And Removing Patterns
Working with the Arranger Using Ideas View 14.2.3 Assigning and Removing Patterns Each Pattern placed in the Arranger (Ideas view or Arranger view) references one of the Pat- terns available in the Pattern Editor for the corresponding Group. In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots.
Page 742 Working with the Arranger Using Ideas View ▪ The Pattern displays its name and color. ▪ The corresponding Pattern will now be played by that Scene. ▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified. Patterns and the Pattern Editor are described in chapter ↑7, Working with Patterns.
Page 743 Working with the Arranger Using Ideas View Then create the Pattern for the desired Group: Press the desired Group button A–H to select the Group from which you want to select a Pattern. Press and hold PATTERN. Both your pads and the right display give you an overview of the available Patterns. Dim lit pads indicate the available Patterns.
Page 744: Selecting Scenes
Working with the Arranger Using Ideas View ▪ The Pattern itself is left untouched. ▪ If the Pattern was the longest one in the Scene, the Scene is automatically reduced to the next longest Pattern. 14.2.4 Selecting Scenes You can select the desired Scene in the Ideas view. Selecting a Scene in the Ideas View To select a Scene in the Ideas view, do the following: Select the desired Scene by clicking its name at the top of the Ideas View:...
Page 745: Deleting Scenes
Working with the Arranger Using Ideas View 14.2.5 Deleting Scenes To delete a Scene in the Ideas view: In the top row of the Ideas view, right-click ([Ctrl]-click on macOS) the name of the Scene you want to delete and select Delete from the context menu: The Scene is deleted with all its Patterns.
Page 746: Duplicating Scenes
Working with the Arranger Using Ideas View To clear a Scene: Right-click ([Ctrl]-click on macOS) the name of the Scene you want to clear, and select ► Clear from the context menu. The Scene is cleared of all Patterns. → 14.2.8 Duplicating Scenes The Ideas view allows you to duplicate a Scene.
Page 747: Reordering Scenes
Working with the Arranger Using Ideas View The selected Scene is duplicated in accordance with the setting in the Default page of → the Preferences. You can also duplicate a Scene by clicking the Scene slot header while holding [Alt] key (or [Ctrl] on PC), and dragging the mouse.
Page 748 Working with the Arranger Using Ideas View Click and hold the Scene name in the Ideas view. While holding the mouse button, drag your mouse horizontally to the desired location. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Scene.
Page 749: 14.2.10 Making Scenes Unique
Working with the Arranger Using Ideas View 14.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique. This will then allow you to work on a new separate copy of the Scene and its Pattern in isolation.
Page 750: 14.2.12 Naming Scenes
Working with the Arranger Using Ideas View Appending a Scene to the Arrangement in the Software In the top row of the Ideas view, right-click ([Ctrl]-click on macOS) the name of the ► Scene you want to append to the arrangement and select Append To Arrangement from the context menu: A Section containing the appended Scene is created and added to the end of your ar- →...
Page 751: 14.2.13 Changing The Color Of A Scene
Working with the Arranger Using Ideas View the pad grid and select Rename from the context menu: The Scene name gets highlighted and editable. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change).
Page 752 Working with the Arranger Using Ideas View 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. Select the desired color in the Palette.
Page 753: Using Arranger View
Working with the Arranger Using Arranger View 14.3 Using Arranger View In MASCHINE, a song is made of a variable number of Scenes, which represent the different parts of the song — e.g., intro, verse, chorus, break, another verse… By assigning your Scenes to Sections to the Timeline in the Arranger view you can start to organize your track.
Page 754 Working with the Arranger Using Arranger View 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.
Page 755: Creating Sections
Working with the Arranger Using Arranger View The top row of the Arranger. The only difference between the Section Manager and the Arranger’s top row is that the Sec- tion Manager allows you to manage your Section banks, which is impossible in the Arranger’s top row.
Page 756: Selecting Sections And Section Banks
Working with the Arranger Using Arranger View Right-click ([Cmd] + click on macOS) a Section slot and select Append in the context ► menu, then for example, select Scene 2 from the submenu. The selected Scene is added to the Section. →...
Page 757 Working with the Arranger Using Arranger View Select the desired Section by clicking its name at the top of the Arranger view: ► The Section name is now highlighted and underlined to indicate that this Section is se- → lected. Selecting a Section and a Section Bank in the Section Manager To select a Section in the Section Manager, do the following: Open the Section Manager (see...
Page 758 Working with the Arranger Using Arranger View 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 →...
Page 759 Working with the Arranger Using Arranger View Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank than the one currently selected, you first need to select that other Section bank: Press NAVIGATE + Button 3 to enter Arranger view.
Page 760 Working with the Arranger Using Arranger View ◦ If playback is off the playhead immediately jumps to the beginning of the selected Section. If playback is on the playhead jumps according to the Perform Grid settings — see section Jumping to Other Scenes. ▪...
Page 761: Reorganizing Sections
Working with the Arranger Using Arranger View 14.3.5 Reorganizing Sections Reordering Sections is essential to organize your Sections and arrange your song. In the software you can reorganize sections both in the Arranger and in the Section Manager. To move a Section: Click and hold the Section name in the Arranger.
Page 762: Adjusting The Length Of A Section
Working with the Arranger Using Arranger View Moving a Section using the Controller To move a Section using your controller: Press NAVIGATE + Button 3 ARRANGER to access Arranger view (if you are not already in the Arranger view). Press and hold SCENE to enter Section mode (you can pin it by pressing Button 1).
Page 763: 14.3.6.1 Adjusting The Length Of A Section Using The Software
Working with the Arranger Using Arranger View ▪ If a Pattern is shorter than the Section it is placed in, it is automatically repeated until the end of the Section (the last repetition might be shortened). These repetitions are automati- cally generated and cannot be edited.
Page 764 Working with the Arranger Using Arranger View The Scene will be repeated if the adjustment is longer than the referenced Pattern. → To shorten a Section: 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 →...
Page 765: 14.3.6.2 Adjusting The Length Of A Section Using The Controller
Working with the Arranger Using Arranger View ▪ The minimum length of a Section equals the minimum Scene length. This can only be ach- ieved if Arrange Grid or Step Grid is set to Off. 14.3.6.2 Adjusting the Length of a Section Using the Controller To adjust the length of a Section using your hardware controller: Press NAVIGATE...
Page 766 Working with the Arranger Using Arranger View Assigning a Pattern in Arranger View In the Arranger, click the cell located in the column of the desired Section and in the row of the desired Group. This selects both the desired Section and Group simultaneously. You can also click the desired Section label and Group separately.
Page 767: Duplicating Sections
Working with the Arranger Using Arranger View Patterns and the Pattern Editor are described in chapter ↑7, Working with Patterns. Creating a New Empty Pattern in Arranger View You can also create a new empty Pattern: In the Arranger, double-click the cell located in the column of the desired Section and in ►...
Page 768: 14.3.8.1 Making Sections Unique
Working with the Arranger Using Arranger View Duplicating a Section Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ► The selected Section is duplicated in accordance with the setting in the Default page of → the Preferences. Duplicating a Section on Your Controller To duplicate a Section on your controller: Press...
Page 769: Removing Sections
Working with the Arranger Using Arranger View To make a Section unique in the MASCHINE software: Right-click (or ([Ctrl]-click on OS X) the Section you want to make unique in the Timeline. The context menu will open. Click Unique. The Section will become independent of any Sections it was linked to and the Patterns →...
Page 770 Working with the Arranger Using Arranger View In the top row of the Arranger view, right-click ([Ctrl]-click on macOS) the name of the Section you want to remove and select Remove from the context menu: The Section is removed from the arrangement. The next Sections shift ahead to fill the →...
Page 771: 14.3.10 Renaming Scenes
Working with the Arranger Using Arranger View Alternate Method Press NAVIGATE + Button 3 (ARRANGER) to enter Arranger view. Press and hold SCENE to enter Section mode. Press Button 7 and 8 to select the desired Section bank. Press ERASE + the pad corresponding to the Section you want to remove.
Page 772: 14.3.11 Clearing Sections
Working with the Arranger Using Arranger View the pad grid and select Rename from the context menu. The Scene name is highlighted and editable. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change).
Page 773: 14.3.12 Creating And Deleting Section Banks
Working with the Arranger Using Arranger View Right-click ([Ctrl]-click on macOS) the name of the desired Section in the Arranger view, and select Clear from the context menu. The Section is cleared. → 14.3.12 Creating and Deleting Section Banks A new Section bank is automatically created once you fill an entire bank with Sections. Deleting Section Banks using the Controller To delete a Section bank: Press...
Page 774: 14.3.13 Enabling Auto Length
Working with the Arranger Using Arranger View 14.3.13 Enabling Auto Length By default a Section is set to Auto Length allowing it to resize automatically to the content within the Section. If the length of a Section is manually adjusted by truncating or lengthening the Section end marker, Auto Length is discarded and the Section automatically set to Manual Length.
Page 775: 14.3.14 Looping
Working with the Arranger Using Arranger View Press Button 3 AUTO LENGTH to enable Auto Length. Auto Length is enabled and the selected Section is automatically resized to fit the con- → tent of the Patterns within the assigned Scene. Any manual adjustments that were previ- ously made are discarded.
Page 776: 14.3.14.2 Setting The Loop Range Using The Controller
Working with the Arranger Using Arranger View 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. ►...
Page 777: Playing With Sections
Working with the Arranger Playing with Sections Activating or Deactivating a Loop Using MASCHINE To activate a Loop using the controller: Press SHIFT RESTART (LOOP) to activate or deactivate the loop. ► When the loop is activated the Scenes within the Loop range are repeated. 14.4 Playing with Sections MASCHINE provides you with various tools to precisely control which Section has to be played,...
Page 778 Working with the Arranger Playing with Sections The playhead shows you the current play position. At any time you can jump to another position in your Project: Click anywhere in the timeline to move the playhead to that position in the Project. ►...
Page 779: Triggering Sections Or Scenes Via Midi
Working with the Arranger Triggering Sections or Scenes via MIDI 14.5 Triggering Sections or Scenes via MIDI You can trigger and change Sections and Scenes using MIDI Note or MIDI Program Change messages sent from your host to the MASCHINE plug-in or MIDI controller. When this feature is enabled, MIDI notes or Program Change messages are linked to the first 128 Section slots or Scenes (depending on your settings) whether they are empty or not: Section/Scene Slot...
Page 780: The Arrange Grid
Working with the Arranger The Arrange Grid The MIDI Change dialog appears. → In the MIDI Change dialog: Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be trig- gered. In Section option, click the Enabled checkbox to enable Sections in the Arranger view to be triggered.
Page 781 Working with the Arranger The Arrange Grid ▪ Loop start / length ▪ Loop position ▪ Pattern length ▪ Scene length ▪ Song Clip start / length ▪ Playhead relocation The Arrange Grid setting is located at the bottom left corner of the Arranger area and can be activated/deactivated by toggling the Grid symbol.
Page 782 Working with the Arranger The Arrange Grid The selected Arrange Grid value is applied. → On your controller: Press the GRID button to access the Grid page. Press Button 3 to select ARRANGE. Press Button 5, or the corresponding pad to select an Arrange Grid value. The selected Arrange Grid value is applied.
Page 783: Sampling And Sample Mapping
Samples in only one Sound. All this can be done in the Sample Editor. Make sure you check out the tutorial videos regarding sampling on the Native Instruments website (http://www.native-instruments.com). Before recording an external source please consult the documentation that came with your audio interface for information on connecting audio devices and instruments.
Page 784: Recording A Sample
Sampling and Sample Mapping Recording a Sample 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. In the Sample Editor, click the desired tab at the top to access the corresponding page: ▪...
Page 785: Selecting The Source And The Recording Mode
Sampling and Sample Mapping Recording a Sample The Record page in the software. 15.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the RECORDING section allow you to ad- just which source should be recorded and how the recording should start and stop. Adjusting the source and mode of the recording in the software.
Page 786 Sampling and Sample Mapping Recording a Sample Click the INPUT selector to choose between the available inputs: ► ▪ If SOURCE is set to Ext. Ster., you can select either of MASCHINE’s four external stereo inputs In 1–4. ▪ If SOURCE is set to Ext.
Page 787 Sampling and Sample Mapping Recording a Sample Any input level reaching the slider position will start the recording! Double-click the slider to reset the threshold to its default value (-12 dB). Monitoring the Input Signal Visually controlling the input signal. The level meters above the RECORDING section show you at any time the level of the selected...
Page 788: Arming, Starting, And Stopping The Recording
Sampling and Sample Mapping Recording a Sample 15.2.3 Arming, Starting, and Stopping the Recording The Start and Cancel buttons. Click Start to arm the recording. ► After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section...
Page 789 Sampling and Sample Mapping Recording a Sample In any case the recorded audio will be stored in the Sound that was under focus as you started the recording. When the Recording is Done… When the recording is done, the following things happen: ▪...
Page 790 Sampling and Sample Mapping Recording a Sample 15.2.4 Arming, Starting, and Stopping the Recording on Your Controller Starting and stopping the recording. Press Button 5 (START) to arm the recording. ► After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section...
Page 791 Sampling and Sample Mapping Recording a Sample ◦ Once the recording has started, press Button 5 (STOP) to stop the recording (it stops immediately) or Button 6 (CANCEL) to cancel the recording (the recorded audio will not be saved). If you want to start and stop the recording manually, you can set the MODE to DETECT, dial the...
Page 792: Checking Your Recordings
Sampling and Sample Mapping Recording a Sample 15.2.5 Checking Your Recordings You can visualize the last recordings you have made in the current Sound: The waveform display and the information bar displaying a recording. (1) Waveform display Shows the waveform of the recording currently selected in the Recording History (5) — by de- fault your last recording: ▪...
Page 793 Sampling and Sample Mapping Recording a Sample Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the recorded Sample under another name and/or to another location on your computer.
Page 794 Sampling and Sample Mapping Recording a Sample ▪ Click the little cross at the top right corner of a mini waveform to delete this particular re- cording. ▪ Drag any mini waveform to another Sound slot to load it in that Sound. Right-click (macOS: [Ctrl]-click) any mini waveform in the Recording History to open a context menu with the following commands: Command...
Page 795: Location And Name Of Your Recorded Samples
Sampling and Sample Mapping Recording a Sample Using the Recording History All the recordings you have made since you opened the current Project are stored in the Re- cording History and displayed as mini waveforms on the left display. The following actions are available: ▪...
Page 796: Editing A Sample
Sampling and Sample Mapping Editing a Sample 15.3 Editing a Sample 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.
Page 797 Sampling and Sample Mapping Editing a Sample The Edit page in the software. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides fol- lowing 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.
Page 798 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.
Page 799 Sampling and Sample Mapping Editing a Sample Displays the file name and the length of the recorded Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑9.2.6, Using the Cue Bus for more information).
Page 800 Sampling and Sample Mapping Editing a Sample Using the EDIT Page on Your Controller In Sampling mode, press Button 2 to access the EDIT page. ► The EDIT page on the controller. The right display shows the waveform of the selected Sample: ▪...
Page 801 Sampling and Sample Mapping Editing a Sample The EDIT page on the controller, page 1 of 2: adjusting the play range of the Sample. Parameter Description START (Knob 1) Adjusts the start point of the play range in the Sample. (Knob 2) Adjusts the end point of the play range in the Sample.
Page 802: Audio Editing Functions
Sampling and Sample Mapping Editing a Sample Hold SHIFT when turning the Knobs to adjust the parameters in finer increments. On the right display, the selection range is highlighted. Changing the play range automatically resets the selection range to the new play range. Audio Editing EDIT page provides several audio editing functions to process your Sample.
Page 803 Sampling and Sample Mapping Editing a Sample Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM. (Normalize) This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample.
Page 804 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 func- tion before applying it to the selected region. Pitch shifting and time stretching can be applied independently.
Page 805 Sampling and Sample Mapping Editing a Sample Parameter Description SRC BPM (Source Allows to define the tempo of the original audio (in BPM). This tempo BPM, Beat mode is defined in different ways according to the AUTO DTCT value: only) AUTO DTCT is enabled, you can set the length (in bars) of the original audio.
Page 806 Sampling and Sample Mapping Editing a Sample Audio Editing Functions on the Controller EDIT page additionally provides several audio editing functions to process your Sample. Audio editing functions on the right display of the controller. Use Button 5 and 6 to select the desired audio function. Press Button 8 to perform the selected audio function The audio function will be performed on the selected region in your Sample, as defined →...
Page 807 Sampling and Sample Mapping Editing a Sample Parameter Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORMALIZE This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample.
Page 808 Sampling and Sample Mapping Editing a Sample Parameters for the Stretch function. Following parameters are available via Knob 1–8: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.00 to leave the original pitch untouched.
Page 809 Sampling and Sample Mapping Editing a Sample Parameter Description AUTO DTCT AUTO DTCT (Auto Detection) is enabled, MASCHINE automatically detects the tempo of the original audio. (Auto Detection, Beat mode only) SRC BPM SRC BPM (Source BPM) allows to define the tempo of the original audio (in BPM).
Page 810: Slicing A Sample
Sampling and Sample Mapping Slicing a Sample Once you have set the parameters to the desired values, press Button 8 (APPLY) to apply ► the pitch shifting and/or time stretching to the selected region in the Sample. If you don’t want to use the Stretch function, press Button 7 (SETTINGS) again to switch back to the audio function selection.
Page 811: Opening The Slice Page
Sampling and Sample Mapping Slicing a Sample ▪ You can also drag a Sample onto the focused Sound slot or directly to the Slice page from the Browser or from your operating system. It will then appear on the page and replace any Sample already loaded in that Sound.
Page 812: Adjusting The Slicing Settings
Sampling and Sample Mapping Slicing a Sample The SLICE page 1 on the controller. 15.4.2 Adjusting the Slicing Settings At the bottom of the Slice page, you can adjust the settings used to define where the various Slices will be created in the Sample. Adjust the slicing settings at the bottom of the Slice page.
Page 813 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.
Page 814 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.
Page 815 Sampling and Sample Mapping Slicing a Sample Adjust the slicing settings via Knob 1–4. Any change to these settings will directly affect the number and position of the Slice markers shown in the waveform on the displays. Selecting and Pre-Listening the Slices with the Pads At any time, the proposed Slices are also available on your pads: The fully lit pad indicates the selected Slice, while the dim lit pads indicate the other Slices.
Page 816 Sampling and Sample Mapping Slicing a Sample Slicing Parameters Following parameters are available: Parameter Description TIME Section MODE Here you can select either DETECT, SPLIT, GRID, or MANUAL: Detect mode: The Sample will be sliced according to its transients. Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values.
Page 817 Sampling and Sample Mapping Slicing a Sample Parameter Description (BPM Mode) Selects how the tempo is defined: If you select AUTO, MASCHINE will calculate the tempo automatically. If you select MANUAL, you can enter the tempo in BPM manually. ADJUST is set to AUTO, you can choose between the tempo that MASCHINE detected, or half or double of that tempo.
Page 818: Live Slicing
Sampling and Sample Mapping Slicing a Sample 15.4.3 Live Slicing Live Slicing is a quick and intuitive way to add slices to a sample using the pads on your con- troller. The first pad is used to trigger the sample and the subsequent pads are used to add slice points as required.
Page 819: 15.4.3.2 Delete All Slices
Sampling and Sample Mapping Slicing a Sample 15.4.3.2 Delete All Slices DELETE ALL option in SAMPLING EDIT mode is a quick and convenient way to delete all Slices at once from a sample using your controller. 15.4.4 Manually Adjusting Your Slices In addition to the Detect, Split, Grid, and Manual modes that create Slices automatically (see section ↑15.4.2, Adjusting the Slicing Settings...
Page 820 Sampling and Sample Mapping Slicing a Sample Shows the selected Sample with a couple of spread vertical lines in the waveform: this is where the Slices are going to be applied (i.e. cut). ▪ Hover a Slice with the mouse to select it (it is highlighted). Little “S” and “E” markers ap- pear at the bottom of the Slice borders to indicate the start and end point of that Slice, respectively.
Page 821 Sampling and Sample Mapping Slicing a Sample By moving the start and end points of Slices independently, you can create overlapping Slices or gaps between Slices. These default mouse actions are valid only if the SLICE REMOVE buttons are disabled in the edit tools (5).
Page 822 Sampling and Sample Mapping Slicing a Sample ◦ Click the start border of a Slice to delete that border and merge the Slice with the pre- vious one. ◦ Click inside a Slice (i.e. anywhere between its borders) to remove the entire Slice. The corresponding part of the Sample is grayed out and won’t be exported as Slice.
Page 823 Sampling and Sample Mapping Slicing a Sample The Edit mode in the SLICE page. Use the page button to access the following parameters and commands: Page / Parameter Description Slicer Page Mode Select the Slicer edit mode. AUTO-SNAP The Sample Slicer Manual mode Auto-Snap feature automatically aligns Slice points to the nearest transient as you manually trigger the slicing from the pads.
Page 824 Sampling and Sample Mapping Slicing a Sample Page / Parameter Description (Knob 4) Adjusts the end point of the selected Slice. Hold SHIFT when turning the Knob to adjust the parameter in finer increments. Note that moving the end point of a Slice does not simultaneously move the start point of the next Slice —...
Page 825: Applying The Slicing
Sampling and Sample Mapping Slicing a Sample Page / Parameter Description SPLIT (Button 5) Splits the sample in half, or adds a Slice during sample playback. REMOVE (Button 6) Removes the start border of the selected Slice, thereby joining this Slice with the previous Slice.
Page 826 Sampling and Sample Mapping Slicing a Sample You can apply the slicing in various ways. (1) Apply button Exports the Slices to the same Sound. If you click Apply, the Slices will be mapped to individ- ual 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.
Page 827 Sampling and Sample Mapping Slicing a Sample ◦ The pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads. ◦ Depending on the setting of the Pattern Creation selector (3), notes will be automati- cally created for each Slice (see below).
Page 828 Sampling and Sample Mapping Slicing a Sample ◦ If Slices are exported to a Group the sequence of notes will contain one note for each Sound containing a Slice. Any existing notes for these Sounds will be replaced. Notes for other Sounds in the Pattern will stay untouched. ▪...
Page 829 Sampling and Sample Mapping Slicing a Sample The root note parameter is shared among all Sounds in a Group. However, when applying slices to a Sound, these slices will always start at the lowest possible note, to make room for the maximum number of slices.
Page 830 Sampling and Sample Mapping Slicing a Sample In this Selection mode, you can choose to export the Slices to a Sound or to a Group. To export the Slices to a Sound: Select the Group containing the target Sound by pressing its Group button A–H. If your Project has more than eight Groups, you can use Button 3 and 4 to first select the desired Group bank.
Page 831: Mapping Samples To Zones
Sampling and Sample Mapping Mapping Samples to Zones At any time you can press Button 7 (CANCEL) to cancel the export and return to the SLICE page. Exporting a Single Slice Instead of exporting all Slices, you can also export the selected Slice only: Press Button 7 (APPLY TO).
Page 832: Opening The Zone Page
Sampling and Sample Mapping Mapping Samples to Zones 15.5.1 Opening the Zone Page Mapping is done in the Zone page of the Sample Editor. Select a Sound slot, then open the Sample Editor (by clicking the button with the wave- ►...
Page 833: Zone
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller. 15.5.2 Zone Page Overview The Zone page provides following elements: Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4). MASCHINE - Manual - 833...
Page 834: Selecting And Managing Zones In The Zone List
Sampling and Sample Mapping Mapping Samples to Zones (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑9.2.6, Using the Cue Bus...
Page 835 Sampling and Sample Mapping Mapping Samples to Zones The Zone List in the Zone page. Click the Zone List button next to the Slice tab to show/hide the Zone List. ► The Zone List allows you to add, remove, replace, select, and reorder Zones in the list. You can adjust the width of the Zone List by dragging its right border.
Page 836 Sampling and Sample Mapping Mapping Samples to Zones Click the “+” at the end of the Zone List. A Load Sample dialog opens up. Navigate to the desired audio file on your operating system and press [Enter] to confirm. A new Zone is created at the end of the list containing the dragged or selected Sample. →...
Page 837 Sampling and Sample Mapping Mapping Samples to Zones 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. Navigate to the desired audio file on your operating system and press [Enter] to confirm. The dragged or selected Sample replaced the previous Sample in the target Zone.
Page 838 Sampling and Sample Mapping Mapping Samples to Zones ▪ The other selected Zones are highlighted in white. Their settings are not displayed any- where, however they will be affected by your actions in the Zone List and in the Map view (see section ↑15.5.4, Selecting and Editing Zones in the Map View for more on this).
Page 839 Sampling and Sample Mapping Mapping Samples to Zones In that menu selects Delete to remove the focused Zone only, or Delete Selected to re- move all selected Zones. Moving Zones in the List You can move your Zones across the Zone List via drag and drop: Select the Zone(s) you want to move.
Page 840: Selecting And Editing Zones In The Map View
Sampling and Sample Mapping Mapping Samples to Zones Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone. The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller.
Page 841 Sampling and Sample Mapping Mapping Samples to Zones The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound. ▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis rep- resents velocities from 0 to 127.
Page 842 Sampling and Sample Mapping Mapping Samples to Zones You can also add a Sample by dragging it directly onto the Sample Map. See section ↑15.5.7, Adding Samples to the Sample Map for more information. (2) Virtual keyboard Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of the selected Zone is indicated by the colored key.
Page 843 Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Hold [Ctrl] ([Cmd] on macOS) and Selects all clicked Zones. Click a selected Zone to click several Zones deselect it (i.e. remove it from the selection). Hold [Shift] and click two Zones Selects both Zones and all Zones in-between.
Page 844: Editing Zones In The Sample View
Sampling and Sample Mapping Mapping Samples to Zones For more information on the Edit Slice pages, please refer to section ↑15.3, Editing a Sample ↑15.4, Slicing a Sample, respectively. Sample Map Menu The Sample Map menu contains additional editing facilities. Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu.
Page 845 Sampling and Sample Mapping Mapping Samples to Zones The Sample view of the Zone page. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides fol- lowing tools: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3).
Page 846 Sampling and Sample Mapping Mapping Samples to Zones Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the focused Zone under another name and/or to another location on your computer.
Page 847: Adjusting The Zone Settings
Sampling and Sample Mapping Mapping Samples to Zones 15.5.6 Adjusting the Zone Settings At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings in the software. The various sections always display the values for the focused Zone.
Page 848 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.
Page 849 Sampling and Sample Mapping Mapping Samples to Zones Parameter Description 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;...
Page 850 Sampling and Sample Mapping Mapping Samples to Zones Editing Your Zones on Your Controller At the bottom of the left display, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings on the controller. The various parameters always display the values for the focused Zone.
Page 851 Sampling and Sample Mapping Mapping Samples to Zones Parameter Description START (Knob 1) Adjusts the playback’s start point in the Sample of the focused Zone. (Knob 2) Adjusts the playback’s end point in the Sample of the focused Zone. Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
Page 852 Sampling and Sample Mapping Mapping Samples to Zones Parameter Description (Knob 3) Adjusts the end point of the loop. XFADE (Knob 4) Allows you to blend a little of the material near the loop start and end points in order to get a smoother, less abrupt loop. This is particularly helpful if the loop is inducing any clicks.
Page 853 Sampling and Sample Mapping Mapping Samples to Zones Parameter Description (Knob 3) Sets the panorama position of the focused Zone. ROOT KEY (Knob 4) Adjusts the root key of the focused Zone, that is the key at which the Sample will be played back at its original pitch. Page 4 –...
Page 854: Adding Samples To The Sample Map
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller, page 5 of 5: MAP parameters. Parameter Description KEY LO (Lowest Key, Knob 1) Sets the lowest note (key) of the focused Zone. KEY HI (Highest Key, Knob 2) Sets the highest note (key) of the focused Zone.
Page 855 Sampling and Sample Mapping Mapping Samples to Zones ▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the Sample Map the Zone will cover the root key only; dragging your mouse up in the upper half of the Sample Map will extend the Zone’s key range up to one octave above the root key;...
Page 856 Sampling and Sample Mapping Mapping Samples to Zones In the Browser, select the Sample you want to add to the map of the current Sound (see ↑3.2, Searching and Loading Files from the Library for more information on using the Browser on your controller).
Page 857: Appendix: Tips For Playing Live
Appendix: Tips for Playing Live Preparations 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.
Page 858: Name And Color Your Groups, Patterns, Sounds And Scenes
Appendix: Tips for Playing Live Preparations 16.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 16.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an over- load of your audio interface, this is a useful safety measure.
Page 859: Use Scene Mode And Tweak The Loop Range
Appendix: Tips for Playing Live Basic Techniques 16.2.2 Use Scene Mode and Tweak the Loop Range Scene mode is useful to trigger different parts of an arrangement by switching Scenes, while changing the Loop Range adds another layer of improvisation. By using a short value for the Perform Grid, you can quickly combine Scenes and create new variations.
Page 860: Special Tricks
Appendix: Tips for Playing Live Special Tricks 16.3 Special Tricks 16.3.1 Changing Pattern Length for Variation Try a short Pattern Grid resolution like a quarter or eighth note and change the Pattern Length (see section ↑7.1.6, Adjusting the Arrange Grid and the Pattern Length) to create variations of a Pattern.
Page 861: Troubleshooting
Knowledge Base 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 soft- ware from Native Access.
Page 862: Registration Support
17.4 User Forum In the Native Instruments User Forum, you can discuss product features directly with other users and with experts moderating the forum. Please be aware that the Technical Support team does not participate in the forum. If you’re encountering an issue that can’t be solved by other users, contact Native Instruments’...
Page 863: Glossary
Glossary Glossary In this glossary you will find short definitions for numerous terms used in the MASCHINE con- text. 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.
Page 864 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.
Page 865 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).
Page 866 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.
Page 867 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 se- quences together.
Page 868 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.
Page 869 Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Arranger view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Arranger view and are used to arrange the Scenes into a larger musical structure.
Page 870 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.
Page 871: Index
Index Index Numerics 16 Velocities Ableton Link [224] [99] in Pad mode connecting to a network [99] joining a Link Session Amplitude Envelope (Sampler) [296] ARRANGE button [323] Arrange Grid [333] Arranger [863] definition [731] switching views Arranger view [753] [28] [863] definition [733]...
Page 872 Index Assigning Patterns [741] [765] Attribute Editor [149] Base key [227] [234] AU plug-ins [306] Beat Delay [692] Audio Bit depth [414] rendering from Patterns [216] exporting audio rendering from Sounds/Groups/Project [210] reducing (effect) [703] Audio driver (selecting) [70] BP2 (Filter mode) [299] Audio input [429] [624]...
Page 873 Index Compressor [643] Control area Channel [864] definition [241] Groove properties Control Lane [389] Input properties (Audio page) [429] [624] [864] definition [475] Macro properties Control mode [434] Output properties (Audio page) [864] definition [439] Output properties (Aux page) Controller Channel properties [427] [223]...
Page 874 Index events/notes (controller) [376] [374] events/notes (software) Edit [367] events/notes (controller) EDIT page (controller) [800] Delay effects [692] Edit page (software) [796] Delete Effect categories [372] events/notes (controller) [692] delays [371] events/notes (software) [702] distortions [205] Group [643] dynamics Digital distortion [703] [661] filtering...
Page 875 Index Freq Shifter [675] Event [647] [865] Gate definition [695] Event Edit mode (controller) [367] Grain Delay [698] Grain Stretch Event Select mode (controller) [360] [679] Events [865] insert effect cut/copy/paste (controller) [376] [653] Limiter [374] cut/copy/paste (software) [610] loading [30] definition [703]...
Page 876 Index Events vs. notes [354] Export Favorites [143] [415] MIDI from Pattern [143] Exporting audio [210] Remove [143] [414] from Patterns [143] Show External audio [429] [624] FILE button [101] External Plug-ins [306] File Management [101] using the controller File type [122] selecting in Browser File Type selector...
Page 877 Index Output properties (Audio page) [434] [439] Output properties (Aux page) Gate [647] [201] pasting Grain Delay [695] [210] rendering audio from Grain Stretch [698] [199] saving Groove [241] [207] saving with Samples Groove properties [241] [631] set up as send effect [865] definition [236]...
Page 878 Index [679] [227] [234] Ideas view KEYBOARD button [225] [28] [865] Keyboard mode definition [732] [225] Groups activating [732] Pattern area Scale [225] Scenes [732] [225] using Import Keyboard mode (controller) [225] [418] [372] MIDI to Pattern quick erasing events IMPORT button [164] [363]...
Page 879 Index Lock view [263] entering Latency [70] [857] [264] recalling snapshot in Lock view [664] [671] [676] [263] updating snapshot Library [103] Locking a mode (controller) [36] [163] importing your own files Lofi [703] LIBRARY pane [105] LP2 (Filter mode) [299] Limiter [653]...
Page 880 Index automation [462] [96] connecting external equipment Macro Control [462] controlling parameters via [866] definition [267] disabling MIDI Lock Change Macro Controls [475] [267] enabling MIDI Lock Change [483] Assigning using the controller [415] exporting from Pattern [484] Unassigning using the controller [418] importing to Pattern Macro Controls (controller)
Page 881 Group Modulation mode Pattern [406] [269] of the Smart Strip [750] Scene Morphing [183] Sound slot [264] between Lock snapshots Native Instruments Plug-ins [306] [265] parameters Native Kontrol Standard [58] Move [58] [364] events/notes (software) Note Repeat [859] [204] Group...
Page 882 Index resizing (controller) [352] [370] [364] resizing (software) Pad mode options [360] [363] selecting (controller) [224] 16 Velocities [359] selecting (software) Fixed Velocity [224] [371] transposing (controller) Pad modes [365] transposing (software) [867] definition NOTES button [270] Pad modes (controller) [223] Notes mode Pad sensitivity...
Page 883 Index adjusting length (software) [334] moving events/notes in Step mode (control- [352] ler) [408] color [352] [369] nudging events/notes (controller) [411] copying and pasting (controller) [370] [402] creating (controller) [366] nudging events/notes (software) [401] creating (software) [410] paste content (software) [410] cut/copy/paste content (software) [376]...
Page 884 Index Pattern Arrange mode (controller) [323] setting Random mode note range [382] Pattern bank [382] setting Random mode velocity range [404] Pedal [101] creating (software) PERFORM button [269] deleting (software) [405] [400] Perform FX selecting (controller) Pattern Editor [320] [269] controlling using the Smart Strip definition [867]...
Page 885 Index definition [30] [868] Preset [275] [315] loading External Plug-ins [287] [315] moving Native Instruments Plug-ins [284] [288] muting saving Plug-in presets [288] saving presets [315] using VST/AU presets [62] Project Switching instances Plug-in slot [29] [868] definition [284] bypassing...
Page 886 Index in LIBRARY pane [107] [131] Retrigger Scenes [737] Randomizing Reverb [684] [381] Pattern Variation Reverberation effects [679] Record REX files [347] Count-in importing to Sounds [217] [348] Input Quantization Root key Overdub mode [341] [849] [853] setting [344] Record Prepare mode (controller) Routing [610] [342]...
Page 887 Index Group [199] [207] Group with Samples Sample [288] Plug-in preset [868] definition [208] Project with Samples exporting with Group [207] [185] Sound [208] exporting with Project Save button [101] [163] importing into Library Saving files [165] missing using the controller [101] pre-listening [138] [139]...
Page 888 Index Scene bank selecting (controller) [759] [760] [745] [756] creating (hardware) selecting (software) [745] Sections creating (software) [744] [761] selecting (software) moving (software) Search field [107] Select Search results [131] [360] events/notes (controller) [359] Section [753] events/notes (software) [765] Selecting adjusting the length (hardware) [762] [763] [223]...
Page 889 Index Perform mode [269] Output properties (MIDI page) [470] [269] [187] Pitch mode pasting [268] [210] using rendering audio from Snapshots [262] [192] resetting slot [185] Solo [858] saving [867] [470] definition sending MIDI [236] [631] Sound or Group set up as send effect [236] SOLO (controller) [239]...
Page 890 Index definition [870] Step mode (controller) [349] Tag Filter Step sequencer (controller) [349] [124] using Step Undo/Redo [38] [39] Tags Swing [153] assigning Types and Sub-Types definition [870] [154] creating Sync to External MIDI Clock [73] [97] Take Undo/Redo [38] [39] TAP (Metro) button [346] TAP button...
Page 891 Index TYPES Filter [107] Zone page [832] controller Undo [37] [39] software [832] Variation [381] accessing mode [381] adding to Pattern [381] applying settings to selected Sound [381] Humanize mode parameters [382] Random mode parameters Velocity scaling [90] View [31] switching VST plug-ins [306]...

Native Instruments MASCHINE MK3 Manual

1 Welcome to MASCHINE

2 Basic Concepts

3 Browser

4 Managing Sounds, Groups, and Your Project

5 Playing on the Controller

6 Working with Plug-Ins

7 Working with Patterns

8 Audio Routing, Remote Control, and Macro Controls

9 Controlling Your MIX

10 Using the Drumsynths

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Summary of Contents for Native Instruments MASCHINE MK3