Page 1 MASCHINE MIKRO 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 Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 5F, Shenzhen Zimao Center 75011 Paris 111 Taizi Road, Nanshan District, Shenzhen, France Guangdong www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018. 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 2.7.10 ..................... 26 New Features in MASCHINE 2.7.8 ....................27 New Features in MASCHINE 2.7.7 ....................27 New Features in MASCHINE 2.7.4 ....................
Page 5 Table of Contents 2.3.5 Pattern Editor ......................59 Basic Concepts ......................61 Important Names and Concepts ....................61 Adjusting the MASCHINE User Interface ..................64 3.2.1 Adjusting the Size of the Interface ................64 3.2.2 Switching between Ideas View and Song View ............65 3.2.3 Showing/Hiding the Browser ..................
Page 6 Table of Contents 3.6.4 Preferences – Default Page ..................98 3.6.5 Preferences – Library Page ..................102 3.6.6 Preferences – Plug-ins Page ..................110 3.6.7 Preferences – Hardware Page ..................115 3.6.8 Preferences – Colors Page ..................115 Integrating MASCHINE into a MIDI Setup ..................118 3.7.1 Connecting External MIDI Equipment ................
Page 7 Table of Contents 4.2.7 Performing a Text Search ................... 144 4.2.8 Loading a File from the Result List ................145 Additional Browsing Tools ......................150 4.3.1 Loading the Selected Files Automatically ..............150 4.3.2 Auditioning Instrument Presets ................. 151 4.3.3 Auditioning Samples ....................
Page 8 Table of Contents 5.1.1 The Sound, Group, and Master Channels ..............180 5.1.2 Similarities and Differences in Handling Sounds and Groups ........181 5.1.3 Selecting Multiple Sounds or Groups ................. 182 Managing Sounds ........................185 5.2.1 Loading Sounds ......................187 5.2.2 Pre-listening to Sounds .....................
Page 9 Table of Contents 5.5.1 Loading REX Files into Sound Slots ................222 5.5.2 Importing MPC Programs to Groups ................223 Playing on the Controller ................... 227 Adjusting the Pads ........................227 6.1.1 The Pad View in the Software ..................227 6.1.2 Choosing a Pad Input Mode ..................
Page 10 Page 4: Modulation ....................289 7.2.5 Page 5: LFO ....................... 290 7.2.6 Page 6: Velocity / Modwheel ..................292 Using Native Instruments and External Plug-ins ................ 293 7.3.1 Opening/Closing Plug-in Windows ................293 7.3.2 Using the VST/AU Plug-in Parameters ............... 296 7.3.3...
Page 11 Table of Contents Using Loop Mode ........................312 Using Gate Mode ........................314 Using the Drumsynths ....................316 Drumsynths – General Handling ....................317 9.1.1 Engines: Many Different Drums per Drumsynth ............317 9.1.2 Common Parameter Organization ................317 9.1.3 Shared Parameters ....................
Page 12 Table of Contents 9.3.7 Snare – Chrome ......................353 9.3.8 Snare – Iron ....................... 355 9.3.9 Snare – Clap ......................357 9.3.10 Snare – Breaker ......................359 The Hi-hats ..........................361 9.4.1 Hi-hat – Silver ......................362 9.4.2 Hi-hat – Circuit ......................364 9.4.3 Hi-hat –...
Page 13 Table of Contents 11 Working with Patterns ....................405 11.1 Pattern Basics ..........................405 11.1.1 Pattern Editor Overview ..................... 406 11.1.2 Navigating the Event Area ..................408 11.1.3 Following the Playback Position in the Pattern ............410 11.1.4 Jumping to Another Playback Position in the Pattern ..........411 11.1.5 Group View and Keyboard View ..................
Page 14 Table of Contents 11.4.10 Adding Variation to Patterns ..................446 11.5 Recording and Editing Modulation ..................... 447 11.5.1 Which Parameters Are Modulatable? ................. 448 11.5.2 Recording Modulation ....................450 11.5.3 Creating and Editing Modulation in the Control Lane ..........451 11.6 Creating MIDI Tracks from Scratch in MASCHINE ...............
Page 15 Table of Contents 12.1.5 Mono Audio Inputs ..................... 506 12.1.5.1 Configuring External Inputs for Sounds in Mix View ........507 12.2 Using MIDI Control and Host Automation ..................510 12.2.1 Triggering Sounds via MIDI Notes ................511 12.2.2 Triggering Scenes via MIDI ..................517 12.2.3 Controlling Parameters via MIDI and Host Automation ..........
Page 16 13.4.4 Custom Panels for Native Instruments Plug-ins ............564 13.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) .... 568 14 Using Effects ......................571 14.1 Applying Effects to a Sound, a Group or the Master ..............571 14.1.1...
Page 17 Table of Contents 15.2.2 Filter .......................... 609 15.2.3 Cabinet ........................613 15.3 Modulation Effects ........................615 15.3.1 Chorus ........................615 15.3.2 Flanger ........................616 15.3.3 FM ..........................617 15.3.4 Freq Shifter ........................ 619 15.3.5 Phaser ........................620 15.4 Spatial and Reverb Effects ......................621 15.4.1 Ice ..........................
Page 18 Table of Contents 15.7 Perform FX ..........................649 15.7.1 Filter .......................... 650 15.7.2 Flanger ........................652 15.7.3 Burst Echo ......................... 654 15.7.4 Reso Echo ........................657 15.7.5 Ring ........................... 660 15.7.6 Stutter ........................662 15.7.7 Tremolo ........................665 15.7.8 Scratcher ........................668 16 Working with the Arranger ..................
Page 19 Table of Contents 16.2.12 Naming Scenes ......................693 16.2.13 Changing the Color of a Scene .................. 694 16.3 Using Song View ......................... 696 16.3.1 Section Management Overview .................. 696 16.3.2 Creating Sections ...................... 698 16.3.3 Assigning a Scene to a Section .................. 699 16.3.4 Selecting Sections and Section Banks ...............
Page 20 Table of Contents 16.3.14 Enabling Auto Length ....................717 16.3.15 Looping ........................718 16.3.15.1 Setting the Loop Range in the Software .............718 16.3.15.2 Activating or Deactivating a Loop Using the Controller ......719 16.4 Playing with Sections ......................... 719 16.4.1 Jumping to another Playback Position in Your Project ..........720 16.5 Triggering Sections or Scenes via MIDI ..................
Page 21 Table of Contents 17.5.1 Opening the Zone Page ....................758 17.5.2 Zone Page Overview ....................759 17.5.3 Selecting and Managing Zones in the Zone List ............760 17.5.4 Selecting and Editing Zones in the Map View ............765 17.5.5 Editing Zones in the Sample View ................769 17.5.6 Adjusting the Zone Settings ..................
Page 22 Table of Contents 19 Troubleshooting ......................780 19.1 Knowledge Base ......................... 780 19.2 Technical Support ........................780 19.3 Registration Support ........................781 19.4 User Forum ..........................781 20 Glossary ........................782 Index ........................790 MASCHINE MIKRO - Manual - 22...
Page 23: Welcome To Maschine
Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let9s get go- ing! 4The MASCHINE team at Native Instruments. MASCHINE MIKRO - Manual - 23...
Page 24: Maschine Documentation
MASCHINE documents are available in PDF. You can also access these documents from the appli- cation9s Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized versions of these documents. MASCHINE MIKRO - Manual - 24...
Page 25: Document Conventions
Welcome to MASCHINE Document Conventions 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. The icons introducing these notes let you see what kind of information is to be expected: This document uses particular formatting to point out special facts and to warn you of poten- tial issues.
Page 26: New Features In Maschine 2.7.10
Welcome to MASCHINE New Features in MASCHINE 2.7.10 ▪ References to keys on your computer9s keyboard you9ll find put in square brackets (e.g., <Press [Shift] + [Enter]=). ► Single instructions are introduced by this play button type arrow. ² Results of actions are introduced by this smaller arrow. Naming Convention Throughout the documentation we will refer to MASCHINE controller (or just controller) as the hardware controller and MASCHINE software as the software installed on your computer.
Page 27: New Features In Maschine 2.7.8
MIDI Mode. ▪ MASCHINE MIKRO MK3: ability to set focused parameter from the software. This means that when you click on a plug-in parameter in the Control Panel of the software, the param- eter will become focused on the controller when in Plug-in mode.
Page 28 Welcome to MASCHINE New Features in MASCHINE 2.7.7 Audio plug-in Improvements ▪ Added a Formant mode to the Audio plug-in which preserves formants when pitching an audio loop up or down. This can be particularly useful when working with vocal material. ±8, Using the Audio For more information, refer to Plug-in.
Page 29: New Features In Maschine 2.7.4
Welcome to MASCHINE New Features in MASCHINE 2.7.4 ◦ W = toggle between Group view and Keyboard view ◦ S = toggle Sampling view on/off ◦ E = toggle Pencil/Paint on/off Recording ▪ You can now engage count-in recording from the software while the playhead is moving via Command + Shift + Space (macOS) or Ctrl + Shift + Space (Windows).
Page 30 Welcome to MASCHINE New Features in MASCHINE 2.7.4 Pattern puts the new recording into an Audio plug-in in the next unoccupied Sound Slot and additionally creates a new Pattern where only this loop is being played (useful for cap- turing different versions of a part and quickly reviewing them by switching Patterns). For more information, refer to ±17.2, Recording Audio.
Page 31: New Features In Maschine 2.7.3
Welcome to MASCHINE New Features in MASCHINE 2.7.3 to retune the loop at all (any pitches programmed in Gate mode will be ignored4only the timing of the programmed notes will be used to gate the playing audio). For more informa- ±8, Using the Audio tion refer to Plug-in.
Page 32 Welcome to MASCHINE New Features in MASCHINE 2.7.3 Audio Plug-in Improvements ▪ Added the ability to enable and disable Audio plug-in playback per Pattern when in Loop mode. Double-clicking the waveform will toggle playback for the selected Pattern. Alterna- tively, the loops can be enabled or disabled via the STEP page on the hardware controllers.
Page 33 Welcome to MASCHINE New Features in MASCHINE 2.7.3 ▪ Fixed a crash that could occur when zooming horizontally in the Arranger with special char- acters in Section names. ▪ Fixed some issues around renaming Scenes and Sections. ▪ Removed 32-bit versions of standalone application and plug-in. ▪...
Page 34: Quick Reference
Quick Reference MASCHINE Project Overview Quick Reference This chapter introduces you to the main areas and concepts of MASCHINE. In the following sections, you will find: ▪ Information that will help you in your every-day work with your controller (Using Your Con- troller).
Page 35 Quick Reference MASCHINE Project Overview The sound content aspect of a MASCHINE Project with Ideas view selected. ▪ Groups (1) are available in Banks. Each Bank contains eight Groups (A-H) and each Group contains sixteen Sound slots (1316) (2). Each Sound slot can be filled with samples or plug-ins.
Page 36: Arrangement
Quick Reference MASCHINE Project Overview ◦ The controls in the MASTER section affect the sound at the main outputs of MA- SCHINE, i.e. the sound of all Groups and all Sounds. 2.1.2 Arrangement The MASCHINE Project is about building patterns, and putting those patterns into a loop or a song structure.
Page 37 Quick Reference MASCHINE Project Overview The Ideas view of a MASCHINE Project optimized for creating Patterns and building Scenes. The workflow of creating ideas in MASCHINE is as follows: ▪ You load samples or plug-ins into the Sound slots (7) of the selected Group (2). ▪...
Page 38 Quick Reference MASCHINE Project Overview ▪ In the upper half of the software, the Ideas view (4) allows you to combine your Patterns from each Group. ▪ Here you combine your Patterns (1) into Scenes (3). Song view In the Song view Scenes are assigned to Sections and placed on the Timeline of the Arranger, where you can move them around to develop an arrangement.
Page 39: Maschine Hardware Overview
Quick Reference MASCHINE Hardware Overview ▪ Change the position of a Section by dragging the Sections slot. MASCHINE Hardware Overview 2.2.1 MASCHINE MIKRO Hardware Overview This section quickly describes the areas and control elements on your hardware controller. The top panel of your controller includes the following sections: Overview of the MASCHINE controller9s top panel and its main sections.
Page 40: Browser Section
Quick Reference MASCHINE Hardware Overview (2) Edit section: This section holds the Encoder, a multifunctional element used in various con- texts with the Arrow buttons. The three Quick Edit buttons nearby allow you to adjust the vol- ume, tempo, and swing of your Sounds, Groups, and Project. In Step mode, they let you quick- ly change the velocity, position, and tune of the selected events.
Page 41: Edit Section
Quick Reference MASCHINE Hardware Overview (1) Project button: View Projects that have been recently opened. Turn the Encoder to scroll the list, and press the Encoder to load the selected Project. Press SHIFT + Project button to ±3.7.4, Using MIDI access MIDI mode.
Page 42: Performance Section
Quick Reference MASCHINE Hardware Overview (3) Quick Edit buttons: Enable either VOLUME (Velocity), SWING (Position), or TEMPO (Tune) to quickly adjust the volume, swing, or tempo of your Project via the Encoder (1). In Step mode the Quick Edit buttons allow you to adjust the velocity, the position, and the pitch (key) of the selected events.
Page 43 Quick Reference MASCHINE Hardware Overview (1) Strip Mode buttons: The PITCH, MOD, PERFORM, and NOTES buttons let you select the function of the Smart Strip (2). Press the Strip Mode buttons to enable or disable the corre- sponding function: ▪ Enable PITCH to send MIDI Pitchbend or Modulation data to the selected Sound using the Smart Strip.
Page 44: Transport Section
Quick Reference MASCHINE Hardware Overview ±2.2.1.2, If the VOLUME, SWING, or TEMPO button is active in the Edit section above (see Edit Section), hold a Group button and turn the Encoder to change the volume, tune or swing ±3.3.1, Adjusting Volume, Swing, and for that individual Group.
Page 45: Pad Section
Quick Reference MASCHINE Hardware Overview (2) REC button: During playback, press to begin recording. Or when playback is off, press SHIFT to begin recording with the Count-in. Press a second time to stop recording. Hold the button to access Pattern Preset mode, this allows you to select the desired Pat- tern Length before recording new Patterns.
Page 46 Quick Reference MASCHINE Hardware Overview Additionally, when you hold SHIFT, the pads provide you with useful shortcuts and commands for your everyday work with MASCHINE. The Pad section on your controller: the Mode buttons (1) to (8), the pads (9), and the Pad Input Mode buttons (10) to (14). Mode Buttons The Mode buttons (1) to (8) are located in the column left of the pads.
Page 47 Quick Reference MASCHINE Hardware Overview (3) SELECT button: Enters Select mode. This mode allows you to select a Sound without trigger- ing it, or select specific events of a particular Sound, which is useful for limiting quantization, nudging notes and other operations specific to the selected events. Press ERASE SELECT pad to quickly erase all events triggered by that pad in your Pattern or notes at that pitch when...
Page 48 Quick Reference MASCHINE Hardware Overview ▪ Use Section mode to create, select, and manage Sections in order to create an arrange- ment. Here you can create Sections, assign a Scene to Section, position a Section on the Timeline, and set the length of a Section. Press SHIFT SCENE...
Page 49: Rear Panel
Quick Reference MASCHINE Hardware Overview (14) FIXED VEL button: Press to enable/disable the Fixed Velocity option. By default, FIXED VEL the pads are sensitive to velocity: The harder you hit them, the louder the sound will be. With Fixed Velocity enabled, your pads play at the same volume no matter how hard you hit them. For example, this can be very handy when you are triggering slices of a loop from your pads and want to have all slices at the same volume.
Page 50: Maschine Software Overview
Quick Reference MASCHINE Software Overview MASCHINE Software Overview The MASCHINE software. (1) Header: The Header contains the main controls for the MASCHINE software including the Display area, the Transport controls, and the Master Volume slider. You can also use this area to toggle the Browser, toggle the Mixer view, connect to your hardware controller and monitor the CPU usage of your computer.
Page 51: Header
Quick Reference MASCHINE Software Overview (3) Arranger: This area has two views: Ideas view and Song view. Ideas view is for creating and experimenting with musical ideas free from the timeline. Song view is for organizing your musi- cal ideas into a song on the Timeline. (4) Control area: The Control area allows you to control parameters and settings for each of the Plug-in slots at each Project level (Sound, Group and Master).
Page 52 Quick Reference MASCHINE Software Overview (4) Transport controls: The Transport controls contain buttons such as Play, Restart, Record and Loop. (5) Display area: The Display area provides control regarding Ableton Link, time signature, tem- po, global swing, Follow and Performance Grid (Including Retrigger) (6) Controller icon: This area displays an icon each MASCHINE controllers connected to your computer.
Page 53: Browser
Quick Reference MASCHINE Software Overview 2.3.2 Browser 10 11 The Browser. (1) LIBRARY tab: Use the LIBRARY tab to access your computer's hard drives via MASCHINE's selectors and filters. (2) FILES tab: Use the FILES tab to access your computer9s hard drives. MASCHINE MIKRO - Manual - 53...
Page 54 Quick Reference MASCHINE Software Overview (3) File Type selector: This contains six icons representing the different file types of MA- SCHINE. From left to right the file types are: Projects, Groups, Sounds, Instruments, Effects, and Samples. Clicking one of them causes only the files of the selected type to be displayed. (4) Content selector: The Content selector allows you to select between Factory content and User content.
Page 55: Arranger
(11) Tag Editor: The Tag Editor allows you to edit Tags applied to files and add Tags to new files from the Bank, Types, and Modes and view Properties. Only Types and Modes Properties can be edited in the User content. The NI (Native Instruments) content is read only. You can show/hide it by clicking the EDIT button at the bottom right.
Page 56 Quick Reference MASCHINE Software Overview The Ideas View The Ideas view for creating and experimenting with musical ideas free from the Timeline. (1) Scenes: This area displays all the current Scenes in your project. After creating a Scene by clicking the symbol, you can build the Scene by selecting a Pattern from each Group.
Page 57 Quick Reference MASCHINE Software Overview The Song view The Song view for organizing your musical ideas into a song on the Timeline. (1) Groups: The Group slots can hold one Group each. Select the desired slot to load a Group ±2.3.5, into it and display the Group9s content (Sounds, Patterns…) in the Pattern Editor (see Pattern...
Page 58: Control Area
Quick Reference MASCHINE Software Overview 2.3.4 Control Area The Control area. (1) Plug-in icon: Click the Plug-in icon to access Plug-ins and their parameters. (2) Channel icon: Click the Channel icon to access Channel properties where you can display and adjust various properties for the selected Sound/Group or Master channel in the Parameter area.
Page 59: Pattern Editor
Quick Reference MASCHINE Software Overview 2.3.5 Pattern Editor The Pattern Editor. (1) Sample Editor button: Click this button to open/close the Sample Editor. (2) Keyboard view button: Click this button to display the Keyboard view. (3) Group view button: Click this button to display the Group view. (4) Audition button: Click this button to audition a Sound when it is selected from the Sound slots (6).
Page 60 Quick Reference MASCHINE Software Overview (6) Sound slots: Sounds slots 1316 of the selected Group are listed here. Click a Sound slot to bring it into focus and display its Plug-ins and Channel properties in the Control area (see ±2.3.4, Control Area).
Page 61: Basic Concepts
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 can be applied as insert effects. The flexible...
Page 62 Basic Concepts Important Names and Concepts routing system also allows you to create send effects, multi-effects, and side-chains. For more ±14, Using details on using effects in MASCHINE, refer to chapter Effects. You will find an ±15, Effect exhaustive description of all internal effects included in MASCHINE in chapter Reference.
Page 63 Basic Concepts Important Names and Concepts Plug-in Each Sound, each Group, and the Master can hold any number of Plug-ins. Plug-ins can be instruments or effects, and they can be internal (included with MASCHINE), from other Native Instruments products (instruments or effects), or external (third-party VST/AU plug-ins). Instru- ment and Effect Plug-ins can be loaded in the first Plug-in slot of Sounds.
Page 64: Adjusting The Maschine User Interface
Basic Concepts Adjusting the MASCHINE User Interface Sound Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any number of Plug-ins. Each Sound of the selected Group is mapped to one of the 16 pads on the ±5, hardware controller, so you can play the Sounds by pressing the pads.
Page 65: Switching Between Ideas View And Song 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]). 3.2.2 Switching between Ideas View and Song View At any time you can quickly switch between the Ideas view and the Song view, using the Ar- ranger View button.
Page 66: Showing/Hiding The Browser
Basic Concepts Adjusting the MASCHINE User Interface 3.2.3 Showing/Hiding the Browser ► Click the Browser button (with the magnifier symbol) in the Header to show and hide the Browser. You can also select Browser from the View menu in the Application Menu Bar or from the View submenu in the MASCHINE menu.
Page 67: Showing/Hiding The Control Lane
Basic Concepts Adjusting the MASCHINE User Interface Minimizing/maximizing the Mixer. Minimizing the Mixer on the MASCHINE Controller Press VIEW + pad to show/hide the channel details in the Mixer. 3.2.5 Showing/Hiding the Control Lane When MASCHINE is in Arrange view, you can show/hide the Control Lane under the Pattern Editor: ►...
Page 68: Common Operations
Basic Concepts Common Operations Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane. Showing/Hiding the Control Lane on the Controller ► Press VIEW + pad to show/hide the Control Lane. Common Operations This sections introduces a few very common operations in MASCHINE you will encounter in numerous situations.
Page 69 Basic Concepts Common Operations 3.3.1.1 Adjusting Volume, Swing and Tempo in the MASCHINE Software Adjusting Volume To adjust the various volume levels in the software, the following controls are at your disposal: ► To adjust the overall output level, click and drag the Master Volume slider located on the right part of the Header, at the top of the window.
Page 70 Basic Concepts Common Operations ► To adjust the Tempo (Beats Per Minute) value of your Project, click the value, hold the mouse button and drag vertically. 3.3.1.2 Adjusting Volume, Swing, Tempo and Tune on Your Controller Adjusting Volume ► Press the VOLUME button next to the Encoder.
Page 71: Undo/Redo
Basic Concepts Common Operations ▪ To adjust the swing of a particular Group, hold its Group button (A3H) and turn the Encod- er. Hold SHIFT to adjust the value in finer increments. ▪ To adjust the swing of an individual Sound, press and hold its pad and turn the Encoder. Hold SHIFT to adjust the value in finer increments.
Page 72 Basic Concepts Common Operations ▪ Take Undo allows you to cancel your last group of actions. Step Undo Step Undo/Redo is the classic undo/redo found in most applications. It cancels or re-executes each single action you have performed. In the software use the following keyboard shortcuts for the Step Undo and Step Redo func- tions: ►...
Page 73: Focusing On A Group Or A Sound
Basic Concepts Common Operations Undo/Redo on the Controller Both Take Undo and Step Undo are also available on your controller: To undo a take, press SHIFT + pad (UNDO). To redo a take, press SHIFT + pad (REDO). To undo a step, press SHIFT + pad 3 (STEP...
Page 74 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: ² The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of that Group.
Page 75 Basic Concepts Common Operations The focused Group is highlighted and the Pattern Editor show its content. If the desired Group does not appear in the Group List, use the scroll bar at the right end of the Arranger or turn your mouse wheel while hovering the Arranger to display any hidden Groups. You can also extend the Arranger by dragging its lower right corner vertically with the mouse.
Page 76 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 77: Switching Between The Master, Group, And Sound Level
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.
Page 78: Navigating Channel Properties, Plug-Ins, And Parameter Pages In The Control Area
Basic Concepts Common Operations Click the desired tab to switch the display of the Control area. ► Click the MASTER, GROUP SOUND tab in the top left corner of the Control area to dis- play the Plug-in parameters or Channel properties of the Master, the focused Group or the focused Sound, respectively.
Page 79 Basic Concepts Common Operations Selecting Channel Properties At the far left of the Control area, click the Channel icon (showing a little knob) to display the Channel properties: The button lights up. The Channel Property selector appears in the left part of the Control area, showing a square of four buttons representing the various sets of Channel properties available for the selected Sound, Group or the Master: Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selec-...
Page 80 Basic Concepts Common Operations Selecting a Plug-in At the far left of the Control area, click the little Plug-in icon to display the Plug-ins: The icon lights up. The Plug-in List appears in the left part of the Control area, showing a stack of all Plug-ins loaded in the selected Sound, Group or the Master: Click the desired Plug-in slot in the Plug-in List to select that Plug-in.
Page 81 Basic Concepts Common Operations The Parameter pages of the Sound9s Output properties: Audio (currently displayed), Aux, and MIDI. If all page names cannot be displayed at once at the top of the Parameter area, two small ar- rows are displayed on the left to click through the pages: ►...
Page 82 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 83: Navigating The Software Using The Controller
Basic Concepts Common Operations 3.3.6 Navigating the Software Using the Controller You can use the controller to adjust the position and zoom factor in the software. To access the Navigation mode: ► Press SHIFT VARIATION (Navigate). Navigating the Pattern Editor To control the position and zoom factor in the Pattern Editor from your controller: Action Shortcut...
Page 84 Basic Concepts Common Operations If you have more than one instance of the MASCHINE software running on your computer, you can control each instance with a different controller. See Controlling Various Instances with Different Controllers for more information. A controller not connected to any MASCHINE software instance can be used in MIDI mode (i.e. as a MIDI controller) at the same time as the other controller(s).
Page 85: Loading A Recent Project From The Controller
Basic Concepts Common Operations Hardware On the controller you want to use with the MASCHINE software, do the following: ▪ MASCHINE (MK3) controller: Press SHIFT + PLUG-IN, turn the 4-D encoder to select the desired instance, and press the 4-D encoder or Button 4 to load it. ▪...
Page 86: Native Kontrol Standard
Basic Concepts Native Kontrol Standard Native Kontrol Standard Native Kontrol Standard (NKS) is a software instrument format that allows third-party develop- ers to integrate with MASCHINE and KOMPLETE KONTROL hardware and software at the same deep level as KOMPLETE Instruments. The Native Kontrol Standard includes: ▪...
Page 87: Stand-Alone And Plug-In Mode
Basic Concepts Stand-Alone and Plug-in Mode Start the stand-alone version of the MASCHINE software. In the File menu click on Manage Products…. Click on Add a serial in the top-left corner of Native Access. Enter the serial number of the instrument and click SERIAL.
Page 88 Basic Concepts Stand-Alone and Plug-in Mode start the playback in MASCHINE, nor modify the tempo or the time signature of your Project within the MASCHINE plug-in itself 4 these are synchonized to your host9s own transport functions and tempo settings. As a direct consequence, when MASCHINE is used as a plug-in the Restart and Play buttons as well as the Tempo and Time Signature fields are grayed out and inactive in the MASCHINE Header.
Page 89: Switching Instances
Basic Concepts Stand-Alone and Plug-in Mode Multiple Plug-in Instances When you are using MASCHINE as a plug-in within a host application, you can open multiple MASCHINE instances. Actually, you can load as many instances of MASCHINE as your com- puter and your host application can handle CPU-wise. In contrast to the stand-alone applica- tion, they are always synced to the host.
Page 90: Preferences - General Page
Basic Concepts Preferences Preferences… in the File menu of the Application Menu Bar (Windows depicted), and in the File submenu of the MA- SCHINE menu. The following pages are available in the Preferences panel: ▪ General: see ±3.6.1, Preferences 3 General Page.
Page 91 Basic Concepts Preferences The Preferences 3 General page. Setting Description Startup Reload Last Project Click this checkbox to automatically reload the last Project on startup. Recording Audio MASCHINE MIKRO - Manual - 91...
Page 92 Basic Concepts Preferences Setting Description Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved. If not, your recordings will be saved in the generic Recordings ±3.6.4, folder in your standard user directory (see section Preferences 3 Default...
Page 93 Basic Concepts Preferences Setting Description Count-in Length Select the duration of the Count-in, i.e. how long the metronome will sound before the recording actually starts. Link Enabled Click the checkbox to enable the Link protocol by default. Applications that support Ableton Link can join a Link session when connected to the same network.
Page 94: Preferences - Audio Page
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. For more detailed information about Usage Data Tracking,...
Page 95 Basic Concepts Preferences Setting Description Sample Rate This displays the selected sample rate of your audio interface. Restart MASCHINE after changing the sample rate. ASIO Config (Windows only) Click Open Panel to access specific controls related to your audio interface. Please consult the documentation that came with your audio interface for more information.
Page 96: Preferences - Midi Page
Basic Concepts Preferences 3.6.3 Preferences 3 MIDI Page MIDI page allows you to set up the MIDI input and output ports that you want to use with MASCHINE. ► To display the MIDI page, click the MIDI tab on the left of the Preferences panel.
Page 97 Basic Concepts Preferences Setting Description Sync Mode Click the drop-down menu to set the MIDI Sync mode preference for MASCHINE: Off: No MIDI sync mode is selected. Master (Send Clock): If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to any device that is capable of receiving MIDI Clock.
Page 98: Preferences - Default Page
Basic Concepts Preferences Setting Description Outputs Click Output to display a list of all the available MIDI outputs of your system. You can activate/deactivate each output by clicking the fields in the Status column, which displays the current status of the corresponding port.
Page 99 Basic Concepts Preferences The Preferences 3 Default page. MASCHINE MIKRO - Manual - 99...
Page 100 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 101 Basic Concepts Preferences Setting Description Duplicate Select from the drop-down menu how the Duplicate function in MASCHINE will operate when duplicating Scenes. Scene Only Only the Scene is duplicated. The result is a new unlinked Scene with the same Patterns referenced. Scene and Patterns The Scene itself and additionally all Patterns are duplicated.
Page 102: Preferences - Library Page
Basic Concepts Preferences Setting Description Sound Default MIDI Input Mode MASCHINE allows you to play your Sound(s) via MIDI notes, for example, from a MIDI keyboard. By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI channel will trigger the pitch of the focused Sound.
Page 103 Basic Concepts Preferences The Preferences panel 3 the Library page9s Factory pane. Factory pane displays 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 Browser9s Library pane.
Page 104 Basic Concepts Preferences Element Description Location column Displays the path of each library. If you have moved any library to another location on your computer, click the folder icon on the left of that library and select its new path. Product column Displays the name of each product.
Page 105 Basic Concepts Preferences The Preferences panel 3 the Library page9s User pane. User pane displays all user libraries currently in use. This includes the standard MA- SCHINE user directory as well as any other user directory you might have defined. These libra- ries will appear in the User view of the Browser9s Library pane.
Page 106 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 directories in the...
Page 107 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 108 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 109 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 110: 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 111 Basic Concepts Preferences The Preferences panel 3 the Plug-ins page9s Manager pane. MASCHINE MIKRO - Manual - 111...
Page 112 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 113 Use NI Audio Units checkbox. Check this box to include the Audio Units (AU) versions of your Native Instruments plug-ins in the soft- ware9s Plug-in menus and in the controller9s Plug-in Browser: ▪ If this checkbox is disabled (default setting), the AU versions of your Native Instruments...
Page 114 Basic Concepts Preferences The Preferences panel 3 the Plug-ins page9s 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 115: Preferences - Hardware Page
Preferences panel. ² The settings of connected Native Instruments controllers can be selected and adjusted. 3.6.8 Preferences 3 Colors Page Colors page enables you to choose default colors for your Scenes, Groups, and Sounds.
Page 116 Basic Concepts Preferences The Preferences panel 3 Colors page. MASCHINE MIKRO - Manual - 116...
Page 117 Basic Concepts Preferences Setting Description Scene Default Select the default color for your Scenes. In the menu, you can select the desired color from the 16-color palette or White (default setting). The color selected as default is highlighted in the menu. If you select Auto each Scene will have a different default color.
Page 118: 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: ±3.7.2, Sync to External MIDI Clock ±3.7.3, Send MIDI Clock.
Page 119: Send Midi Clock
Basic Concepts Integrating MASCHINE into a MIDI Setup Select Preferences entry from the File menu. Select the MIDI page. In the Sync section select Slave (Receive Clock) from the menu. Select the Input button to see a list of connected devices. Check the name of the device sending MIDI clock (the device you want MASCHINE to sync with).
Page 120: Using Midi Mode
Basic Concepts Integrating MASCHINE into a MIDI Setup ² MASCHINE will send a MIDI Clock signal to any connected device that is capable of re- ceiving MIDI Clock. You can adjust the MIDI Clock offset in the MIDI page of the Preferences panel.
Page 121: Syncing Maschine Using Ableton Link
Basic Concepts Syncing MASCHINE using Ableton Link MIKRO MIDI Mode Mapping 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 122: Connecting To A Network
Basic Concepts Syncing MASCHINE using Ableton Link 3.8.1 Connecting to a Network Applications that support Ableton Link can join a Link session when connected to the same network. To enable Link within MASCHINE, simply make sure the computer running MA- SCHINE is connected to the same local network as the other applications you want to link to.
Page 123 Basic Concepts Syncing MASCHINE using Ableton Link Click the LINK button located in the header. Start MASCHINE9s playback by clicking the play button. To stop using Link, and leave the session, click LINK again. While connected, the LINK button displays how many other Link-enabled applications are con- nected via Link.
Page 124: 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 125: 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.
Page 126: 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. ±4.2, Searching and Loading Files from the LIBRARY pane is described in section Library, ±4.6, Loading and Importing Files from Your File and the FILES tab is described in section...
Page 127 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 128 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- ±4.2.5, Choosing Between Factory and User played in the Result list (8).
Page 129: Selecting Or Loading A Product And Selecting A Bank From The Browser
Browser Searching and Loading Files from the Library ▪ For all files, click the button at the far right of the bar to open the Attribute Editor and EDIT ±4.5, Editing modify the tags and properties assigned to the selected file(s). See section the Files9 Tags and Properties.
Page 130 Browser Searching and Loading Files from the Library The closed Product selector header. Selecting a Product Category ► Click on the Product selector header to open it. ² The Product selector opens up, showing you all products available in your MASCHINE Li- brary.
Page 131 Browser Searching and Loading Files from the Library The opened Product selector. (1) Product selector header: The header shows the selected product4if there is no selection it shows a generic label (All Instruments). Click on the header to close the Product selector. (2) Category/Vendor selector: Allows you to sort the Product list by Category or by Vendor.
Page 132 Browser Searching and Loading Files from the Library ² Upon your selection, the Product selector automatically closes, the product name and icon appear in the header, and the tag filter and results list below will be filtered accord- ingly. Products are shown in the Product selector only if the Library contains files for them. If a particular product does not show up, make sure that you have installed the latest updates using Service Cen- ter.
Page 133 Browser Searching and Loading Files from the Library 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). Banks can be additional Libraries (for example MASSIVE Expansions), different versions of the original Factory Library (for example FM7 Legacy and FM8 Factory Library), or any other con- tent categorization specific to a particular product (for example different sets of drum sounds for POLYPLEX, as shown above).
Page 134: Selecting A Product Category, A Product, A Bank, And A Sub-Bank
Browser Searching and Loading Files from the Library ► As with the product selection, you can remove the selected bank by clicking the little cross next to the bank name in the closed menu. Loading a Product from the Product Selector If you wish to not only filter the results list by selecting a product, but also load the product along with its default preset file, you can do so directly from the Product selector.
Page 135 Browser Searching and Loading Files from the Library ² The Product selector opens up and displays the following: The opened Product selector (for Instrument presets). (1) Product selector header: The header shows the product or the selected product category 4 if there is no selection it shows a generic label (All Instruments in the picture above) corre-...
Page 136 Product selector when the factory content is selected in the Content selector 4 to prevent this, make sure that all your Native Instruments prod- ucts are up to date.
Page 137 Browser Searching and Loading Files from the Library ² The product selection is cancelled. The Product selector displays the generic label corre- sponding to the selected file type (Project, Group, Sound, Instrument preset, Effect preset or Sample). The tag filter and the Result list under the Product selector now include files for all products.
Page 138 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 139: Selecting A Product Category, A Product, A Bank, And A Sub-Bank On The
Browser Searching and Loading Files from the Library 4.2.3.1 Selecting a Product Category, a Product, a Bank, and a Sub-Bank on the Controller 4.2.4 Selecting a File Type The File Type selector shows six icons representing the different file types of MASCHINE: The File Type selector.
Page 140: Selecting Type And Mode Tags
Browser Searching and Loading Files from the Library The Content selector. ► Click the NI icon to search the factory content, or click the User icon to search the user content. 4.2.6 Selecting Type and Mode Tags The tag filter that appears under the Product selector allows you to search for files according to particular characteristics, effect type, sonic character, etc.
Page 141 Browser Searching and Loading Files from the Library ▪ As soon as you select a tag at the top level, the second level appears underneath with sub- tags of the selected tag. ▪ The hierarchical structure means that the sets of sub-tags are specific to each tag of the level above.
Page 142 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 143 Browser Searching and Loading Files from the Library ◦ In general, Mode tags will rather refer to technical terms (e.g., Arpeggiated, Percus- sive, Synthetic, etc.). ◦ The MODES filter is always displayed. You can start your search with the MODES filter before (or even without) using the TYPES...
Page 144: Performing A Text Search
Browser Searching and Loading Files from the Library Highlighted triangle next to the Attributes (TYPES and MODES). 4.2.7 Performing a Text Search In the Search field you can enter your search query. The Search field. MASCHINE MIKRO - Manual - 144...
Page 145: Loading A File From The Result List
Browser Searching and Loading Files from the Library ► Click in the Search field and type the desired text to limit the results to files containing this text. The search will be performed on the file paths, the file names, the products/banks/sub-banks, the tags, and the properties directly as you type.
Page 146 Browser Searching and Loading Files from the Library ▪ Select the desired file(s). ▪ Load the selected file(s) into your Project (or load another Project). ▪ Delete the selected file(s) from your hard disk and from the Library. ▪ Navigate to the selected file(s) in your operating system. ▪...
Page 147 Browser Searching and Loading Files from the Library ▪ If it is a Sample, it will be loaded into the Sound slot currently in focus. The Sampler Plug- in will be automatically loaded in the first Plug-in slot in order to play the Sample. The Sample will spread over the entire velocity and note range.
Page 148 Browser Searching and Loading Files from the Library ◦ If you drop the Sounds onto an existing Group, the Sounds will be loaded in the empty Sound slots of that Group 4 if there are not enough empty Sound slots, the Sounds will be loaded in the first Sound slots of the Group, replacing the Sounds previously loaded in these slots.
Page 149 Browser Searching and Loading Files from the Library Drag and drop of Groups and Sounds is possible only in Arrange view. Deleting Files in the Result List You can delete user files directly from the Result list: Right-click ([Ctrl]-click on macOS) the desired user file and select Delete from the context menu.
Page 150: Additional Browsing Tools
Browser Additional Browsing Tools ² The selected file is loaded in the focused Group, the focused Sound, or the selected Plug- in slot (if it9s an Instrument Plug-in, it will be loaded in the first Plug-in slot of the fo- cused Sound).
Page 151: Auditioning Instrument Presets
Browser Additional Browsing Tools When Autoload is enabled, any item that you select in the Result list of the LIBRARY pane or FILES pane is automatically loaded into the focused Group or Sound slot or into the selected Plug-in slot, replacing any content currently in that location. This allows you to listen to this item in context with the rest of your Project while it is playing.
Page 152: Auditioning Samples
Browser Additional Browsing Tools The Prehear controls. ► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear. When Prehear is enabled, you can directly hear Instrument presets as you select them in the Result list of the LIBRARY pane or FILES...
Page 153: Loading Groups With Patterns
Browser Additional Browsing Tools The Prehear signal is sent to the Cue bus of MASCHINE. This allows you to pre-listen to Sam- ples on a distinct output pair (e.g., in your headphones) without affecting MASCHINE9s main ±13.2.6, Using the Cue output! For more information on the Cue bus, see section Bus.
Page 154: Displaying File Information
Browser Additional Browsing Tools 4.3.6 Displaying File Information The Information button. ► Click the Information button (showing a little <i=) next to the EDIT button in the right part of the Control bar to display information on the file(s) selected in the Result list. ²...
Page 155 Browser Using Favorites in the Browser Here are some important notes regarding the use of Favorites: ▪ Favorites are automatically shared across MASCHINE and KOMPLETE KONTROL browser databases on one computer. ▪ Favorites are independent of the file's location: if a file is moved, it retains its favorite tag. ▪...
Page 156 Browser Using Favorites in the Browser To activate the Favorites filter: 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 157 Browser Using Favorites in the Browser Place the mouse cursor over an entry in the results list to show the Set Favorite icon. Click on the Set Favorite icon to add the corresponding item to the Favorites. ² 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 158 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 Favorites directly using the controller.
Page 159: Editing The Files' Tags And Properties
Browser Editing the Files9 Tags and Properties Editing the Files’ Tags and Properties The Attribute Editor allows you to assign or edit tags and properties to your MASCHINE files to make it easier to find them later when browsing the MASCHINE Library in the LIBRARY pane ±4.2, Searching and Loading Files from the...
Page 160 Browser Editing the Files9 Tags and Properties The Attribute Editor (here showing the TYPES page). The Attribute Editor affects the files selected in the Result list of the LIBRARY pane (see sec- ±4.2.8, Loading a File from the Result tion List) or the files within the folders selected for im- ±4.6, Loading and Importing Files from Your File port in the...
Page 161: The Bank Page
Browser Editing the Files9 Tags and Properties Factory files are loaded in the Attribute Editor. The Attribute Editor will display the various attributes for these files, but you won9t be able to modify them. 4.5.2 The BANK Page BANK page is only available when opening the Attribute Editor from the LIBRARY pane.
Page 162 Browser Editing the Files9 Tags and Properties ▪ The TYPES page is available for all file types when opening the Attribute Editor both from LIBRARY pane and the FILES pane. It shows three columns (for Projects, Groups, Sounds, and Samples) or two columns (for Instrument and Effect presets) according to the hierarchical levels of the Type tags (see section ±4.2.6, Selecting Type and Mode Tags):...
Page 163 Browser Editing the Files9 Tags and Properties ▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the next column to the right. In each column only one tag can be selected. The selected tag is highlighted: Assigning Tags ►...
Page 164: The Properties Page
Browser Editing the Files9 Tags and Properties ► To create a new tag in any column, click the <+= symbol at the bottom of the column, enter the desired tag name with your computer keyboard and press [Enter] to confirm. Adding a new Sub-Type for the Loops Type.
Page 165: Loading And Importing Files From Your File System
Browser Loading and Importing Files from Your File System As with the other pages of the Attribute Editor, the fields in the PROPERTIES page can be modified only if you have selected user files in the Result list. The attributes of factory files cannot be edited. Loading and Importing Files from Your File System The Browser9s FILES...
Page 166 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 ±4.6.2, Using path and display its content in the Result list (5).
Page 167: 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- ±4.6.4, Navigating to Recent ly jump any of them. See section Locations. (5) Result list: The Result list displays the content (files and folders) of the folder loaded in the ±4.6.5, Using Location bar (3).
Page 168: 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. ² 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 169: 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 170: 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. ² This location is loaded in the Location bar and its content displayed in the Result list. 4.6.5 Using the Result List The Result list of the...
Page 171 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- ►...
Page 172 Browser Loading and Importing Files from Your File System Loading Files from the Result List You can load files from the Result list using the same methods as in the Result list of the LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section ±4.2.8, Loading a File from the Result List.
Page 173: 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. 4.6.6 Importing Files to the MASCHINE Library Apart from the huge MASCHINE factory library, you might want to use your own samples or any MASCHINE files you received from other users.
Page 174 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 ±4.5, Editing the Files9 Tags and Properties.
Page 175: 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 176 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 177: 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. Let9s 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 178 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 179: 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 180: The Sound, Group, And Master Channels
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master The Group List (1) and the Sound List (2) in the Arrange view of the software. 5.1.1 The Sound, Group, and Master Channels From a routing point of view, each Sound, each Group, and the Master represents a distinct channel in MASCHINE.
Page 181: 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 ±13.2, The Mixer routings of any Sound, Group, and the Master.
Page 182: 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 4 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 183 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 4 nothing special here: This just means that the Sound whose parameters are currently displayed will be indeed affected by the changes you do on these parameters.
Page 184 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 185: Managing Sounds
Managing Sounds, Groups, and Your Project Managing Sounds Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the 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 186 Managing Sounds, Groups, and Your Project Managing Sounds Sounds: Sound List or Pad View With the exception of naming Sound slots, all procedures described in the following sections are available both in the Sound List and in the Pad view. The Pad view is an alternative repre- sentation of your Sound slots that puts emphasis on their relationship with the pads on your controller.
Page 187: Loading Sounds
Managing Sounds, Groups, and Your Project Managing Sounds 5.2.1 Loading Sounds You can load a readymade Sound from the Browser or from your operating system. The Sound can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a Sound you have created yourself and saved for later use.
Page 188: 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 ±4.8, Using Quick Browse loaded in the focused Sound slot. See section for more informa- tion. 5.2.2 Pre-listening to Sounds You can pre-listen to the Sounds of the focused Group as you set the focus on them in the...
Page 189: Renaming Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds Select MODE. Press SELECT. Press the pad containing the desired Sound. The Sound is focused without being triggered. 5.2.3 Renaming Sound Slots By default, Sound slots are named Sound 1316. 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 Sound9s, preset9s or Sample9s name.
Page 190: Changing The Sound's Color
Managing Sounds, Groups, and Your Project Managing Sounds 5.2.4 Changing the Sound’s Color You can change the color of each individual Sound in the software. To do this: Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List or in the Pad view and select Color from the context menu.
Page 191: Saving Sounds
Managing Sounds, Groups, and Your Project Managing Sounds Notes on Changing the Color of Multiple Sounds When opening the Color Palette (in order to set a new color setting for the selected Sounds): ▪ If the selected Sounds have the same color setting (a particular color or the default color), this color is highlighted in the Color Palette.
Page 192 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: ² Your modifications are saved to the Sound file. Even if you don9t save a Sound individually, its current settings will still be saved with your Project.
Page 193: 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 194 Managing Sounds, Groups, and Your Project Managing Sounds In the software, Sounds are copied without their note content in the Pattern. To include the note content in the copying operation, use DUPLICATE on your controller (see below)! To copy and paste Sounds in the software: 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 195 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 196: Moving Sounds
Managing Sounds, Groups, and Your Project Managing Sounds Press the pad of the target Sound slot (this can also be in another Group, in this case first press GROUP, then the pad of the desired Group, then GROUP again to deactivate it). ²...
Page 197: Resetting Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds ² Each Sound takes its new place in the Group. On your controller, the Sounds will be trig- gered by the pads whose numbers appear left of the Sound slots in the Sound List or on the cells in the Pad view.
Page 198: Managing Groups
Managing Sounds, Groups, and Your Project Managing Groups Resetting a Sound slot. Resetting a Sound Slot on Your Controller ► To reset a Sound slot, hold SHIFT ERASE and then press the pad related to the Sound you want to reset. ²...
Page 199 Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the Groups in the Group List, opened via a right-click ([Ctrl]-click on macOS) on the desired Group: ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit.
Page 200: Creating Groups
Managing Sounds, Groups, and Your Project Managing Groups 5.3.1 Creating Groups Creating a Group will add a new empty Group at the end of the Group List. You can then fill this Group with the Sounds of your choice. ► To create a Group, click the <+= at the end of the Group List.
Page 201: Loading Groups
Managing Sounds, Groups, and Your Project Managing Groups Automatic Group Bank Management In MASCHINE Group banks are managed automatically, so that you don9t have to create or de- lete them manually. Group are always adjacent in the Group List: you cannot have any gap in the Group List 4 nor in any Group bank.
Page 202: Renaming Groups
Managing Sounds, Groups, and Your Project Managing Groups In your operating system, Group files have the extension <.mxgrp= (MASCHINE 2) or <.mgrp= (MA- SCHINE 1.x). To learn more about the Browser, refer to ±4, Browser. Loading Groups on Your Controller On your controller, use the Browser to load Groups: ▪...
Page 203: Changing The Group's Color
² The Group buttons of the MASCHINE MK3, MASCHINE STUDIO, MASCHINE MK2 con- trollers, and the pads of the MASCHINE MIKRO MK3, MASCHINE MIKRO MK2 controller (when you hold the GROUP button) mirror the Group colors you have selected.
Page 204: Saving Groups
Managing Sounds, Groups, and Your Project Managing Groups By default each Group has a different color. But you can choose a common default color for Groups ±3.6.8, Preferences 3 Colors Page in Preferences > Colors > Group Default. See section for more information.
Page 205 Managing Sounds, Groups, and Your Project Managing Groups ► Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Save from the context menu: ² Your modifications are saved to the Sound file.
Page 206: Copying And Pasting Groups
Managing Sounds, Groups, and Your Project Managing Groups Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the top left corner of the Pattern Editor and select Save As… from the context menu: A Save Group dialog appears. By default, the Group file will be saved in your Standard User Directory (as defined in Preferences >...
Page 207 Managing Sounds, Groups, and Your Project Managing Groups To copy and paste Groups in the software: Right-click (on macOS: [Ctrl]-click) the Group you want to copy in the Group List or the Group name in the top left corner of the Pattern Editor. In the context menu, choose Copy to copy the Group.
Page 208 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 209 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 didn9t exist it is automatically created).
Page 210: Reordering Groups
Managing Sounds, Groups, and Your Project Managing Groups Press the pad of your target Group (this can also be in another Group bank, in this case first press the Left/Right Arrow button under the display to select the Group bank). If you want to paste the Group without affecting the existing Groups, press the dim white pad after the last colored pad to create the new Group and automatically paste the copied Group there.
Page 211: Deleting Groups
Managing Sounds, Groups, and Your Project Managing Groups 5.3.8 Deleting Groups Deleting a Group will remove it from the Group List. It is not possible to have a Project without any Groups; attempting to delete the last remaining Group in a Project will simply reset the Group to the default values. ±5.1.3, Selecting Multiple Sounds You can select multiple Groups to delete them all at once! See or Groups...
Page 212: Exporting Maschine Objects And Audio
Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Deleting a Group on Your Controller On your controller in Control mode, do the following to delete a Group: ► To delete a Group, hold SHIFT ERASE GROUP and press the pad 9316 of the Group you want to delete.
Page 213 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Right-click (on macOS: [Ctrl]-click) the Group in the Group List left of the Arranger and select Save with Samples… from the context menu: You will be presented with the Save Group with Samples panel: In this panel, adjust the settings (see table below) and click...
Page 214: 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 215 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 216: 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 217 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio To export audio from MASCHINE: Set the Loop Range to the region that you want to export. Choose Export Audio… from the File menu or from the File submenu in the MASCHINE menu.
Page 218 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Export Scenes as Audio panel. The following parameters are available in the Export Audio panel, which is split into three dis- tinct sections: Source, Options, and Destination. Source Section Source section allows you to define exactly what will be exported.
Page 219 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Range Set the range for the audio you want to export. The options here will differ depending on whether MASCHINE is in Ideas view or Song view. In Ideas view the following options are available: All: Select this option to export all Scenes as audio.
Page 220 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sounds. Only Sounds with a check mark will be exported. The check box of Group entries allow to check/uncheck all Sounds of the Group at once. If some of the Sounds only are checked in a Group, the Group is <dimmed checked.= Options Section Options...
Page 221 Managing Sounds, Groups, and Your Project Exporting MASCHINE Objects and Audio Element Description Sample Rate Select from five different sample rates for the exported audio file(s): 44100 Hz (this is the sample rate of the audio CD format), 48000 Hz, 88200 Hz, 96000 Hz, and 192000 Hz.
Page 222: Importing Third-Party File Formats
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats ▪ If Group Outputs is selected in the Output menu the audio files will be named as follows: [Project name] - [Group order number] [Group index (letter + number)] [Group name] - [BPM].wav/aiff The Group order number is a two-digit number indicating the <order of appearance= of the Group in the Group List.
Page 223: Importing Mpc Programs To Groups
Managing Sounds, Groups, and Your Project Importing Third-Party File Formats A REX file loaded in the first Sound slot. 5.5.2 Importing MPC Programs to Groups MASCHINE allows you to import Drum program files (.PGM and .AKP) from the Akai MPC ser- ies to Groups.
Page 224 Managing Sounds, Groups, and Your Project Importing Third-Party File Formats MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter 1000, 2500 (XL) Voice Overlap − Polyphony Filter1 Type − − − Filter Type Filter1 Frequency − Filter Cutoff Filter1 Resonance − Filter Resonance Filter1 Velocity to −...
Page 225 Managing Sounds, Groups, and Your Project Importing Third-Party File Formats Navigate to the MPC Program file you want to import and double-click it. You will be prompted with the MPC Import panel: In the Input section of the panel, select one of the import options (see table below). Click to start the import procedure (or Cancel...
Page 226 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 227: 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 228 Playing on the Controller Adjusting the Pads The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group. The focused pad is fully lit; other pads containing a Sound are dim lit; pads without any Sound are off.
Page 229: Choosing A Pad Input Mode
Playing on the Controller Adjusting the Pads Parameter Description Adjusts the base key for the selected pad. See section Adjusting the Base Key below. Choke Configures the Choke Group for the selected pad. See section Using Choke Groups below. Link Configures Pad Link for the selected pad.
Page 230: Adjusting The Base Key
Playing on the Controller Adjusting the Pads the focused Sound). The pitch of the played note is defined by the base key (see section Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT FIXED VEL. Press again to disable. The 16 Velocities mode is not available in Keyboard mode. Using Keyboard Mode KEYBOARD button located above the pads activates and deactivates Keyboard mode.
Page 231: Adjusting The Key, Choke, And Link Parameters For Multiple Sounds
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds Adjusting the Base Key in the Software By default the base key of every Sound slot is C3 (i.e. middle C in the MASCHINE convention). To change the base key of the selected pad(s) / Sound slot(s) in the software: Click the Pad View button above the Sound List in the Pattern Editor to show the Pad view for the focused Group.
Page 232 Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds Sound slots 1 to 4 are selected. If they have different Key values, a MULTI label appears (left). When you drag it (middle), a transpose value appears (right) that will be applied to all selected Sounds when you will release the mouse button. This is also true when adjusting the parameter from your controller.
Page 233: Playing Tools
Playing on the Controller Playing Tools Playing Tools ±6.1, Adjusting the On top of the various pad settings described in the previous section (see Pads), MASCHINE also offers you a series of intuitive playing tools particularly useful when playing live: ▪...
Page 234 Playing on the Controller Playing Tools change this behavior by enabling the Audio Mute button in the Audio page of the Sound9s Out- ±12.1.2, Configuring the Main Output of Sounds and put properties (see section Groups) as well as in Solo and Mute mode on your controller: Activating the audio mute for Sounds will ensure that not only the events are muted, but any remaining audio as well.
Page 235 Playing on the Controller Playing Tools Soloing a Group. To unsolo a Group, right-click (on macOS: [Ctrl]-click) the Group index again. Muting a Sound To mute a Sound, click the number on the left side of the Sound slot in the Pattern Edi- tor.
Page 236 Playing on the Controller Playing Tools Muting a Group To mute a Group, click the Group index (letter + number) on the left side of the Group in the Arranger: Muting a Group. To unmute the Group, click the Group index again. Soloing Sounds and Groups on the Controller Press SOLO...
Page 237: 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 238 Playing on the Controller Playing Tools ▪ At the Master level, the Groove properties affect all Sounds of all Groups. The Master9s swing is added to the groove set for each individual Group and Sound via their own Groove properties. The Groove properties have a single Parameter page: Swing.
Page 239: Level, Tempo, Tune, And Groove Shortcuts On Your Controller
Playing on the Controller Playing Tools ▪ Middle: Amount 100.0 % Invert off. ▪ Bottom: Amount 100.0 % Invert enabled. This is how the same regular rhythm would be heard with various groove settings. The picture above only illustrates how the groove function affects the sound 4 adjusting the Groove properties will not effectively move events in the Patterns displayed in the Pattern Editor! 6.3.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller...
Page 240: Performance Features
Playing on the Controller Performance Features ► Press the TEMPO button and turn the Encoder to quickly adjust the tempo of your Project. Press and turn the Encoder (or hold SHIFT while you turn it) to adjust the value in finer increments when the TEMPO button is enabled.
Page 241 Playing on the Controller Performance Features The Control Signal Flow4Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode. In this picture, blue cells represent modules sending <control= signals, i.e.
Page 242 Playing on the Controller Performance Features The Control Signal Flow4Pads in Pad Mode The following diagram illustrates signal flow between your hits on the pads in Pad Mode and the resulting sounds: The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Pad Mode.
Page 243: Selecting A Scale And Creating Chords
Playing on the Controller Performance Features 6.4.2 Selecting a Scale and Creating Chords MASCHINE comes equipped with a vast amount of scales and chords that you can select and use to play your Sounds. This opens up possibilities to play an instrument such as a piano ac- cording to, e.g., the minor pentatonic scale without hitting a <false= pad (note) on your control- ler, or to play chords that always fit by hitting single pads.
Page 244: Scale And Chord Parameters
Playing on the Controller Performance Features ² Hit a few pads: They trigger the notes from the scale based on the new selected root note. Furthermore all your pads were shifted in semitones so that pad 1 still triggers the root note of the selected scale.
Page 245 Playing on the Controller Performance Features General Notes on Scales and Chords ▪ The Scale and Chord parameters are the same for all Sound slots in a particular Group, you can have different Scale and Chord parameters for each Group. The Scale and Chord pa- rameters of each Group are saved with the Project.
Page 246 Playing on the Controller Performance Features ▪ Scale Type (Chromatic by default): Selects the scale pattern whose notes will be mapped onto the pads of your controller: The Root Note is on pad 1, the 2nd note of the selected Scale Type is on pad 2, etc.
Page 247 Playing on the Controller Performance Features Modes Scales: Scale Bank Type Degree Formula Ionian Modes Ionian 1 2 3 4 5 6 7 1 2 ♭3 4 5 6 ♭7 Dorian Modes Dorian 1 ♭2 ♭3 4 5 ♭6 ♭7 Phrygian Modes Phrygian...
Page 248 Playing on the Controller Performance Features Jazz Scales Scale Bank Type Degree Formula Lydian ♭7 Lyd ♭7 1 2 3 ♯4 5 6 ♭7 Jazz 1 ♭2 ♯2 3 ♯4 ♭6 ♭7 Altered Jazz Altered 1 ♭2 ♯2 3 ♯4 5 6 ♭7 Diminished Jazz Diminshd...
Page 249 Playing on the Controller Performance Features World Scales Scale Bank Type Degree Formula 1 2 ♭3 ♯4 5 ♭6 7 Hungarian Min World Hung Min 1 ♯2 3 ♯4 5 6 ♭7 Hungarian Maj World Hung Maj 1 ♭2 ♭3 4 5 ♭6 7 Neapolitan World Neapoltn...
Page 250 Playing on the Controller Performance Features 5-Tone Scales Scale Bank Type Degree Formula Penta I 5-Tone Pent I 1 2 3 5 6 1 2 4 5 ♭7 Penta II 5-Tone Pent II 1 ♭3 4 ♭6 ♭7 Penta III 5-Tone Pent III Penta IV...
Page 251 Playing on the Controller Performance Features Modern Scales Scale Bank Type Degree Formula 1 2 ♭3 4 ♯4 ♯5 6 7 Octatonic Modern Octatonc 1 2 3 ♯4 5 6 ♭7 Acoustic Modern Acoustic 1 ♭3 3 5 ♯5 7 Augmented Modern Augmentd...
Page 252 Playing on the Controller Performance Features Major Scales Scale Bank Type Degree Formula Natural Major Natural 1 2 3 4 5 6 7 Lydian Major Lydian 1 2 3 ♯4 5 6 7 1 2 3 4 5 6 ♭7 Mixolydian Major Mixolyd...
Page 253 Playing on the Controller Performance Features Minor Scales Scale Bank Type Degree Formula 1 2 ♭3 4 5 ♭6 ♭7 Natural Minor Natural 1 2 ♭3 4 5 6 ♭7 Dorian Minor Dorian 1 ♭2 ♭3 4 5 ♭6 ♭7 Phrygian Minor Phrygian...
Page 254 Playing on the Controller Performance Features Available Chords The Chord engine can automatically generate chords depending on the pad you hit and possi- bly the selected scale. The Chord engine is controlled via two parameters: ▪ Chord Mode (Off by default): Selects from three different modes for generating chords: ◦...
Page 255 Playing on the Controller Performance Features Chord Type Semitones Added above Played Note Major 4 and 7 Minor 3 and 7 Suspended 4 5 and 7 Major 7 4, 7, and 11 Minor 7 3, 7, and 10 Dominant 7 4, 7, and 10 Dominant 9 4, 7, 10, and 14...
Page 256 Playing on the Controller Performance Features Scales and Chords: Visual Feedback on the Pads When scales and/or chords are enabled, the LEDs of the pads keep you informed at any time on the current scale and chord configuration. The default lighting behavior of your pads is modified by the Scale and Chord engine as follows: When Chord Mode is set to Off or Harmonizer, pads of root notes are fully lit: Type of Pad (for Selected Scale)
Page 257: Creating Arpeggios And Repeated Notes
Playing on the Controller Performance Features Condition Enharmonic Spelling Scale Type is set to Keys Chromatic E♭ A♭ B♭ Scale Type is not set to Chromatic Chord Mode is set to D♭ E♭ A♭ B♭ Chord Set and Chord Type is set to Major 1-8 Chord Mode is set to B♭...
Page 258 Playing on the Controller Performance Features Like the Scale and Chord engine, the Arp engine is dedicated to Keyboard mode. The Arp engine can be seen as a melodic extension of the Note Repeat: Actually, Arp replaces and extends Note Repeat in Keyboard mode. Instead of playing repeated notes at a constant pitch you can play sequences of notes at different pitches.
Page 259 Playing on the Controller Performance Features Press and hold NOTE REPEAT, then hold any pad. The Sound of the pad is repeatedly triggered at the rate shown at the bottom of the con- troller9s display. Turn the Encoder to select another repetition rate. ²...
Page 260 Playing on the Controller Performance Features Element Description TYPE Sets the sequential order of the arpeggiated notes. Turn the Encoder to choose from following settings: starts from the root note and plays the notes up through the chord. DOWN plays the notes the other way around. UP-DOWN plays the notes in both directions alternatively.
Page 261: Swing On Note Repeat / Arp Output
Playing on the Controller Performance Features 6.4.5 Swing on Note Repeat / Arp Output The Swing engines (at the Master, Group, and Sound level) process notes coming from the Pat- tern Editor and from the Arp engine (pads in Keyboard mode) or Note Repeat engine (pads in Pad Mode).
Page 262 Playing on the Controller Using Lock Snapshots ⇨ 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. Press LOCK to recall the snapshot.
Page 263: 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 (±7.2, The Sampler Plug-in). ▪ Specific information on Native Instruments and External Plug-ins (±7.3, Using Native In- struments and External Plug-ins).
Page 264 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 MIKRO - Manual - 264...
Page 265 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 set- ±6.3.3, Groove ±12, tings called Channel properties.
Page 266 ◦ Native Instruments: You can use all Native Instruments KOMPLETE instruments instal- led on your computer as VST/AU plug-ins (e.g., MASSIVE, which is included with MA- SCHINE). Products from Native Instruments are tightly integrated in MASCHINE.
Page 267: 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 268: Loading, Removing, And Replacing A Plug-In
Loading, Removing, and Replacing a Plug-in The procedure to load a Plug-in with its default settings is common to all levels (Sound, Group, and Master) and all Plug-in types (Internal, Native Instruments, and External, as well as Instru- ment and Effect):...
Page 269 ² 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- ±7.3.1, Opening/ ternal Plug-ins will automatically open in a floating window (see section Closing Plug-in Windows for more on this).
Page 270 Working with Plug-ins Plug-in Overview Removing and Replacing a Plug-in Once you have loaded a Plug-in into a Plug-in slot, the slot shows the name of the loaded Plug-in, preceded by an icon describing the type of Plug-in (Instrument or Effect), and fol- lowed by a down-pointing arrow: A few Plug-ins loaded.
Page 271 Working with Plug-ins Plug-in Overview ► To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None at the top of the menu. ² The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards to fill the gap.
Page 272 (first Plug-in slot of Sounds only) and effect plug-ins from third-party manufacturers. Each entry is followed by the ±7.3, plug-in type between brackets: (VST) or (AU). See section Using Native Instruments and External Plug-ins for more information. MASCHINE MIKRO - Manual - 272...
Page 273 Working with Plug-ins Plug-in Overview Plug-in Menu Entry Description Sampler (first Plug-in slot The Sampler is the Internal Instrument Plug-in used to play back of Sounds only) all Samples in MASCHINE 4 this essential Plug-in will be ±7.2, The Sampler described in details in section Plug-in.
Page 274: Adjusting The Plug-In Parameters
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 275 Working with Plug-ins Plug-in Overview Bypassing Plug-in slots can be very useful in various situations, for example: ▪ Bypassing and re-enabling an effect during a live performance. ▪ Comparing the sound with and without an effect. ▪ Troubleshooting complex effect chains and routings (<Where does this strange reverb tail come from?=).
Page 276: Using Side-Chain
Working with Plug-ins Plug-in Overview 7.1.6 Using Side-Chain Some Plug-ins provide side-chaining. This allows you to control their influence on the audio via another audio signal sent to their secondary, side-chain input. This extra routing feature is de- ±14.1.3, Using the Side-Chain scribed in details in section Input.
Page 277: Alternative: The Plug-In Strip
Plug-in preset can be assigned as the default preset so the Plug-in opens with that preset auto- matically loaded. 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 278: Saving Plug-In Presets
Working with Plug-ins Plug-in Overview 7.1.9.1 Saving Plug-in Presets Saving Plug-in presets can only be done in the software via the Plug-in menu. To access the Plug-in menu, click the drop-down arrow on the right-hand side of the Plug-in slot in the Plug- in List: Opening the Plug-in menu.
Page 279: Recalling Plug-In Presets
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 ±7.3.4, Using VST/AU Plug-in Presets presets for third-party instruments/effects! See section for more on this.
Page 280: Removing A Default Plug-In Preset
Properties. KOMPLETE products and MASCHINE EXPANSIONS have to be updated to ensure their full integra- tion into the MASCHINE Library. To update any Native Instruments product installed on your com- puter, please start the Service Center. You can also load a Plug-in preset from the Plug-in menu by selecting the Open… command, then navigating your file system and selecting the desired preset file (extension <.mxinst= for...
Page 281: The Sampler Plug-In
Working with Plug-ins The Sampler Plug-in Click Remove Default Preset in the menu to remove the default preset. ² 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 282 Working with Plug-ins The Sampler Plug-in Many of these parameters can be modulated and automated! For more information, see section ±11.5, Recording and Editing Modulation ±12.2.3, Controlling Parameters via MIDI and Host Automation, respectively. In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dia- ±4.7, Lo-...
Page 283: Voice Settings / Engine
Working with Plug-ins The Sampler Plug-in 7.2.1 Page 1: Voice Settings / Engine Sampler parameters 3 page 1 of 6: VOICE SETTINGS and ENGINE in the software. MASCHINE MIKRO - Manual - 283...
Page 284 Working with Plug-ins The Sampler Plug-in Parameter Description VOICE SETTINGS Polyphony Here you can define a voice limit for the Sound, that is the maximum number of voices (notes) the Sampler can play simultaneously. Once this polyphony has been reached, triggering any additional note will kill the <oldest= note still playing (i.e.
Page 285: Page 2: Pitch / Envelope
Working with Plug-ins The Sampler Plug-in 7.2.2 Page 2: Pitch / Envelope Sampler parameters 3 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 286 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 doesn9t display any parameters. ▪...
Page 287: 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 288 Working with Plug-ins The Sampler Plug-in Parameter Description Comp Basic compressor allowing you to give a Sound more density. Drive Defines the amount of saturation applied to a Sound. stands for <sample rate=: you can use it to lower the original sample rate in order to make the Sound more lo-fi.
Page 289: Modulation
Working with Plug-ins The Sampler Plug-in 7.2.4 Page 4: Modulation Sampler parameters 3 page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software. 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.
Page 290: Lfo
Working with Plug-ins The Sampler Plug-in DESTINATION This is where you define modulation targets for the modulation envelope, i.e. the parameters you want this envelope to control. The knobs adjust the amount of modulation for the following targets: Parameter Modulation Destination Pitch Tune parameter of the...
Page 291 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 292: Velocity / Modwheel
Working with Plug-ins The Sampler Plug-in 7.2.6 Page 6: Velocity / Modwheel Sampler parameters 3 page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters. Parameter Modulation Destination Start...
Page 293: Using Native Instruments And External Plug-Ins
Overview. 7.3.1 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. MASCHINE MIKRO - Manual - 293...
Page 294 If such a Plug-in has previously been opened in its floating window, when you load a new instance of the same Plug-in it will also open in a floating window. MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8).
Page 295 The little diagonal arrow next to the Parameter pages9 tabs. ► To open or close the floating window of a Native Instruments or External Plug-in, select this Plug-in and click the little diagonal arrow at the left of the Parameter pages9 tabs (at the top of the Control area).
Page 296: Using The Vst/Au Plug-In Parameters
For more information, please refer to section Instruments Plug-ins. ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil icon) in the Plug-in Header: 7.3.2...
Page 297: Setting Up Your Own Parameter
(not to switches nor selectors) in MASCHINE 4 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 298 You are now ready to assign parameters to the 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 Parameter pages are not editable, and the Pages tab is grayed out and inactive.
Page 299 Working with Plug-ins Using Native Instruments and External Plug-ins The Control area with the Pages pane active in the Assignment area underneath. (1) Delete Page button (<x= symbol): Click the little <x= after a page name to delete this Parame- ter page.
Page 300 Working with Plug-ins Using Native Instruments and External Plug-ins focused starting with the knob selected for editing 4 indicated by the Focus frame (4). The ±7.3.1, Opening/Closing next parameter you touch in the plug-in9s user interface (see section Plug-in Windows) will be assigned to the focused knob. Once a knob is assigned, the next knob to the right will become the focal point, and so on until the last knob is assigned.
Page 301 Working with Plug-ins Using Native Instruments and External Plug-ins Menu Item Description Keyboard Shortcuts Rename Rename the Parameter. Ctrl + R / Cmd + R Learn Activates the Learn Mode. Reset Reset the Parameter. Cut the Parameter to paste it in Ctrl + X / Cmd + X another position.
Page 302: Using Vst/Au Plug-In Presets
7.3.4 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 303 Using Native Instruments and External Plug-ins Accessing Other VST/AU Presets To access user presets of your Native Instruments instruments/effects as well as both factory and user presets of your third-party VST/AU plug-ins, you first need to load the corresponding Native Instruments or External Plug-in into a Plug-in slot.
Page 304: Multiple-Output Plug-Ins And Multitimbral Plug-Ins
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 ±12.2.3,...
Page 305 Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The Plug-in9s additional outputs are made available as audio sources for other Sounds of the same Group (they appear in the Source menu in the Audio page of the Input properties for these Sounds).
Page 306: Using The Audio Plug-In
Using the Audio Plug-in Using the Audio Plug-in The Audio Plug-in can playback Samples (drums, percussion, basslines, guitar riffs, etc.) in sync with the tempo of your Project. It has two modes: Loop mode and Gate mode. ▪ Loop mode is the default setting where the loaded loop will play continuously whenever there is an active Pattern in the Group.
Page 307 Using the Audio Plug-in Once an Audio Plug-in is loaded it becomes visible in both the MASCHINE software and on the controller. MASCHINE Audio Plug-in Here is an overview of the Audio Plug-in parameters: Element Description PLAYBACK Section Mode Select the mode of playback: Loop or Gate.
Page 308 Using the Audio Plug-in Element Description Tune Transpose the tune (range: -36 3 +36 semitones) of the Audio Plug- in. You can use this knob to set the playback pitch of the loop to 'C', and then the loop's pitch will match the pitch of Notes programmed into the Pattern.
Page 309 Using the Audio Plug-in Element Description Stretch This playback engine provides complete independence between tempo and pitch. With this engine, you can change the tempo of a loop without changing its pitch, you can change its pitch without changing its tempo, or you can change both the tempo and pitch simultaneously.
Page 310: Loading A Loop Into The Audio Plug-In
Using the Audio Plug-in Loading a Loop into the Audio Plug-in Loading a Loop into the Audio Plug-in You can use the Sampler Plug-in to record sound directly from a microphone, or from an elec- tric instrument (such as an electric guitar) connected to your soundcard, to create your own loops.
Page 311: Editing Audio In The Audio Plug-In
Using the Audio Plug-in Editing Audio in the Audio Plug-in By default the Audio Plug-in will playback in Loop mode, meaning the Sample will be repeated for the duration of the Pattern regardless of the length of the Sample. If you want to chop the loop and pitch it, switch to Gate mode.
Page 312: Using Loop Mode
Using the Audio Plug-in Using Loop Mode ▪ The ±17.3, Editing a Sam- Edit page allows you to apply destructive edits to existing audio: ple. The destructive audio editing features here are the same as those found in the Sample Editor, ±17.3, Editing a for more information on using the destructive audio editing features, refer to Sample.
Page 313 Using the Audio Plug-in Using Loop Mode The Audio Plug-in with a bass recording in Loop mode. Enabling and Disabling Audio per Pattern When using Loop mode with the Audio plug-in, it is possible to enable and disable audio in the current Pattern in the Pattern Editor.
Page 314: Using Gate Mode
Using the Audio Plug-in Using Gate Mode Using Gate Mode Gate mode is used to chop and pitch selected parts of your Sample by applying MIDI note events in the Keyboard view of the Pattern Editor or by recording them using your controller. Each event is a gate for the Sample;...
Page 315 Using the Audio Plug-in Using Gate Mode The process of using Gate mode is as follows; load a loop onto a Sound, select Gate mode from the parameters of the Audio Plug-in and then add MIDI events in the Pattern in the regions where you want to chop and pitch your Sample, or press play on your controller and use the pads to pitch the Sample.
Page 316: 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 317: Drumsynths - General Handling
Using the Drumsynths Drumsynths 3 General Handling Drumsynths 3 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 ±7.1, Plug-in to section...
Page 318 Using the Drumsynths Drumsynths 3 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 319 Using the Drumsynths Drumsynths 3 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 320: Shared Parameters
Using the Drumsynths Drumsynths 3 General Handling 9.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily.
Page 321: 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 Pad Mode) or playing the middle C (MIDI note 60) base note. In the MASCHINE convention the MIDI note 60 is noted C3.
Page 322 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 323: Kick - Sub
Using the Drumsynths The Kicks ▪ Bold: ±9.2.7, Kick 3 Bold. ▪ Maple: ±9.2.8, Kick 3 Maple. ▪ Push: ±9.2.9, Kick 3 Push. For more information on engines, see ±9.1.1, Engines: Many Different Drums per Drumsynth. For ±9.1, Drumsynths 3 General Han- general information on the Kick and the other Drumsynths, see dling.
Page 324 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 325: 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 326 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 ±9.1.5, 55.00. The default value is 43.00. For more details see Pitch Range, Tuning, and MIDI Notes.
Page 327 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 328: Kick - Dusty
Using the Drumsynths The Kicks 9.2.3 Kick 3 Dusty The Dusty kick is an electronic kick with an organic feel. It9s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 329: 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 330 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 331 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 332: Kick - Rasper
Using the Drumsynths The Kicks 9.2.5 Kick 3 Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum9n9Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view).
Page 333: 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 334 Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ±13.4, The Plug-in Strip for more information on this.
Page 335: 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 336 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: ±9.1.5, Pitch Range, Tuning, and 50.0 %). For more details see MIDI Notes.
Page 337: Kick - Maple
Using the Drumsynths The Kicks 9.2.8 Kick 3 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 338: 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 339 Using the Drumsynths The Kicks The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ±13.4, The Plug-in Strip for more information on this.
Page 340: 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 341 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 342: Snare - Volt
Using the Drumsynths The Snares ▪ Vintage: ±9.3.6, Snare 3 Vintage ▪ Chrome: ±9.3.7, Snare 3 Chrome ▪ Iron: ±9.3.8, Snare 3 Iron ▪ Clap: ±9.3.9, Snare 3 Clap For more information on engines, see ±9.1.1, Engines: Many Different Drums per Drumsynth.
Page 343 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 344: 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 345 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 346: Snare - Pow
Using the Drumsynths The Snares 9.3.3 Snare 3 Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 347: 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 348 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 % ±9.1.5, Pitch Range, (default: 50.0 %). For more details see Tuning, and MIDI Notes.
Page 349: 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 350 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound9s 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 351: 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 352 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound9s 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 353: 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 354 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 355: 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 356 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound9s 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 357: 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 358 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound9s 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 4 the claps themselves 4 and the synthesized room sound, measured as a percentage.
Page 359: Snare - Breaker
Using the Drumsynths The Snares 9.3.10 Snare 3 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 360 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 361: The Hi-Hats
Using the Drumsynths The Hi-hats 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 MIKRO - Manual - 361...
Page 362: 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 363 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 % ±9.1.5, Pitch Range, (default: 50.0 %). For more details see Tuning, and MIDI Notes.
Page 364: 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 365 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 ±9.4, The setting, please refer to Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage.
Page 366: 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 367 Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ±13.4, The Plug-in Strip for more information on this.
Page 368: 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 369 Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) 4 for ±13.4, The Plug-in more information please refer to section Strip.
Page 370: 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 371: 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 4 e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section Using Choke Groups where Choke groups are ex- plained in detail.
Page 372 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 373: Tom - Tronic
Using the Drumsynths The Toms ±9.1.1, Engines: Many Different Drums per For more information on engines, see Drumsynth. For ±9.1, Drumsynths 3 General Han- general information on the Snare and the other Drumsynths, see dling. 9.5.1 Tom 3 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 374 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 375: 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 376 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 ±9.5, The setting, please refer to Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents.
Page 377 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 378 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 379: 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 380 Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound9s 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 381: 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 382: 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 383 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 384: Percussion - Fractal
Using the Drumsynths The Percussions ▪ Fractal (default): ±9.6.1, Percussion 3 Fractal. ▪ Kettle: ±9.6.2, Percussion 3 Kettle. ▪ Shaker: ±9.6.3, Percussion 3 Shaker. For more information on engines, see ±9.1.1, Engines: Many Different Drums per Drumsynth. For ±9.1, Drumsynths 3 General Han- general information on the Snare and the other Drumsynths, see dling.
Page 385 Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound9s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ±9.5.1, Tom 3 Tronic).
Page 386 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 387: 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 388 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 ±9.1.5, 57.00. The default value is 45.00. For more details see Pitch Range, Tuning, and MIDI Notes.
Page 389: 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 390 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 391 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 392 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 393: 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 4 for a more human feel it is recommended to add some Twist as well (see below).
Page 394 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 395: Cymbal - Crash
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ±9.7.1, Cymbal 3 Crash. ▪ Ride: ±9.7.2, Cymbal 3 Ride. For more information on engines, see ±9.1.1, Engines: Many Different Drums per Drumsynth. For ±9.1, Drumsynths 3 General general information on the Cymbals and the other Drumsynths, see Handling.
Page 396 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 397: 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 398 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 399 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 400: 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 ±11.5, Recording and Editing Modulation for more information on automation.
Page 401: Bass Synth - General Handling
Using the Bass Synth Bass Synth 3 General Handling 10.1 Bass Synth 3 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 402 Using the Bass Synth Bass Synth 3 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 403: Bass Synth Parameters
Using the Bass Synth Bass Synth 3 General Handling 10.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The ±13.4, same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 404 Using the Bass Synth Bass Synth 3 General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% 3 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards.
Page 405: 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 406: Pattern Editor Overview
Working with Patterns Pattern Basics 11.1.1 Pattern Editor Overview The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software. This overview of the Pattern Editor introduces you its main parts and control elements. 14 13 The Pattern Editor (Group view depicted). ±11.1.5, Group (1) Group View button: Click this button to switch to Group view.
Page 407 Working with Patterns Pattern Basics (5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view. The Pad view is an alternate representation of your Sound slots that focuses on the pads of your controller.
Page 408: Navigating The Event Area
Working with Patterns Pattern Basics (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modula- ±11.5, Recording and Edit- tion and the MIDI/host automation of each parameter. See section ±12.2, Using MIDI Control and Host Automation ing Modulation for more information.
Page 409 Working with Patterns Pattern Basics The zooming scroll bar at the bottom of the Pattern Editor. Use the horizontal zooming scroll bar as follows: ▪ Click the main part (1) of the scroll bar and hold the mouse button, then: ◦...
Page 410: Following The Playback Position In The Pattern
Working with Patterns Pattern Basics When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch axis. It works in the same way as the horizontal bar described above. ±11.1.5, Group View and Key- For more information on the Group and Keyboard view, see section board...
Page 411: Jumping To Another Playback Position In The Pattern
Working with Patterns Pattern Basics The Follow function is disabled as soon as you manually scroll to another position in the song. 11.1.4 Jumping to Another Playback Position in the Pattern You can use the timeline above the Event area to set the playback to the desired position. For example, this can be useful to check a particular transition between events in your Pattern without waiting for the whole Loop Range to be looped.
Page 412: Group View And Keyboard View
Working with Patterns Pattern Basics ▪ 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. ±11.1.7, Adjusting the Step Grid and the Nudge For more information on the Step Grid, see section Grid.
Page 413 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 414: Adjusting The Arrange Grid And The Pattern Length
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 415 Working with Patterns Pattern Basics ► To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange view and select the desired setting from the menu (see above for the available settings). ² The divisions of the Arrange Grid now have the size you have just selected. The following Arrange Grid resolutions are available: ▪...
Page 416 Working with Patterns Pattern Basics ► To adjust the Pattern Length, click the Pattern Length: field and drag it up to make the Pattern longer or drag it down to make it shorter. You can also double-click the displayed value, enter a new value with your computer keyboard, and press [Enter] to confirm. ►...
Page 417: Adjusting The Step Grid And The Nudge Grid
Working with Patterns Pattern Basics Turn the Encoder (LENGTH) to adjust the Pattern Length in relation to the current resolu- tion of the Pattern Grid. Adjusting the Grid In Grid mode you can adjust the various grids used in MASCHINE, including the Arrange Grid resolution.
Page 418 Working with Patterns Pattern Basics By default the Step Grid is active and the step size is 1/16th. However you may use another step size or disable the Step Grid completely, as described below. Depending on the current zoom factor and Step Grid resolution, if the vertical lines of the Step Grid are too close to each other they will be hidden to avoid convoluting the display.
Page 419 Working with Patterns Pattern Basics Nudging events means shifting them a small amount ahead or behind their current position. See ±11.4.4, Editing Selected Events/Notes for more information. The Nudge Grid is based on the Step Grid: ▪ The Nudge Grid is active when the Step Grid is active. If the Step Grid is disabled, nudging events will shift them at the maximum resolution of the sequencer.
Page 420: Recording Patterns In Real Time
Working with Patterns Recording Patterns in Real Time The Nudge Grid is not indicated in the Event area of the Pattern Editor. Adjusting the Step Grid and the Nudge Grid on Your Controller You can adjust the Step Grid and Nudge Grid resolution using your controller. To adjust the Step Grid resolution: Hold SHIFT...
Page 421: Recording Your Patterns Live
Working with Patterns Recording Patterns in Real Time 11.2.1 Recording Your Patterns Live In Control mode your controller provides many tools to live record Patterns for the focused Group. Take your time to set up the pad sensitivity and velocity scaling to your personal taste 4 you will have even more fun playing and recording with your controller! These settings can be found in Pref- ±3.6.6, Preferences 3 Plug-ins Page erences >...
Page 422 Working with Patterns Recording Patterns in Real Time Replace Mode When recording in Replace mode the events of the selected Sound(s) are replaced by what you play. Select the Sound(s) of which you want to replace events: In Pad Mode you can select multiple Sounds (see section ±5.1.3, Selecting Multiple Sounds or Groups);...
Page 423: Using The Metronome
Working with Patterns Recording Patterns in Real Time ² The recording goes on in Overdub mode (see description above). You can also erase events without engaging record: If you hold ERASE together with a pad while playing (or recording), all events of that pad at the current play position are deleted (see section ±11.4.5, Deleting Events/Notes).
Page 424: Recording With Count-In
Working with Patterns Recording Patterns in Real Time You can customize the metronome in various ways in the Preferences panel: ▪ You can adjust the metronome9s volume and time signature in the Preferences9 General page (see section ±3.6.1, Preferences 3 General Page for more details).
Page 425 Working with Patterns Recording Patterns in Real Time Count-in when the Loop Range starts at the beginning of a bar… …and when the Loop Range doesn9t start at the beginning of a bar. You can also use the Count-in to start a recording in Replace mode. Adjusting the Count-in Duration You can choose how long the metronome should be heard before the recording actually starts.
Page 426: Recording Patterns With The Step Sequencer
Working with Patterns Recording Patterns with the Step Sequencer 11.3 Recording Patterns with the Step Sequencer If you are familiar with classic drum machines you may want to program your Pattern using the step sequencer. 11.3.1 Step Mode Basics On your controller the step sequencer is available via the Step mode. The Step mode allows you to program the steps to be played by the focused Sound in the current Group.
Page 427 Working with Patterns Recording Patterns with the Step Sequencer ► Press FOLLOW to enable/disable the Follow function. ² When Follow is enabled, your pads automatically switch to the next 16 steps as soon as the playback position reaches the end of the portion currently displayed. This Follow function is always synchronized with the Follow function in the software.
Page 428: Editing Events In Step Mode
Working with Patterns Recording Patterns with the Step Sequencer These parameters affect only your next hits on the pads: They don9t modify the velocity of ex- isting events. 11.3.2 Editing Events in Step Mode In Step mode you can quickly adjust the parameters of events on particular steps. Quick Edit Shortcuts for the Selected Steps You can quickly adjust the velocity, position, and pitch of any events via the Quick Edit short- cuts:...
Page 429: Editing Events
Working with Patterns Editing Events 11.4 Editing Events Many creation and editing commands on events/notes are available directly via mouse actions in the Event area of the Pattern Editor. They will be applied according to the selected Step ±11.1.7, Adjusting the Step Grid and the Nudge Grid resolution (see Grid).
Page 430 Working with Patterns Editing Events Listed here are all available mouse actions from the Mouse Edit modes. For more details on ±11.4, Editing specific actions, please refer to the other sections in Events. Mouse in Select Mode The following table is an overview of available mouse actions in Select mode (works in both ±11.1.5, Group View and Keyboard Group view and Keyboard view, see View).
Page 431 Working with Patterns Editing Events Action Function Editing Selected Notes* ±11.4.4, Editing Selected Events/Notes (see for details) Drag note horizontally Moves selected notes in time according to the Step Grid. [Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step Grid quantization).
Page 432: Creating Events/Notes
Working with Patterns Editing Events ► Click a note and move the mouse cursor with the button pressed to erase all notes under the mouse cursor. Only Notes for the selected Sound are erased. 11.4.2 Creating Events/Notes In the software you can create new events anywhere in the Event area using your mouse. The procedure depends on the active Mouse Edit mode (Select or Pencil).
Page 433: Selecting Events/Notes
Working with Patterns Editing Events Your controller offers numerous ways to create events 4 on your controller this is referred to as ±11.2, Recording Patterns in <recording Patterns.= For details on this please refer to section ±11.3, Recording Patterns with the Step Real Time Sequencer.
Page 434 Working with Patterns Editing Events ² If the Pattern Editor is in Group view this will select all events for all Sounds in the Pat- tern. If the Pattern Editor is in Keyboard view this will select all events at all pitches for the focused Sound.
Page 435: Editing Selected Events/Notes
Working with Patterns Editing Events Fully lit pads indicate pitches at which all notes are selected: Press any lit pad to remove all its notes from the selection (the pad turns dim lit). 11.4.4 Editing Selected Events/Notes Once you have selected particular events, you can edit them in various ways. In the software you can edit events with your mouse only if Select mode is selected in the Edit Mode selector.
Page 436 Working with Patterns Editing Events Action Function [Ctrl] + drag left/right note Freely moves the start/end of selected notes (overrides the border Step Grid quantization), thereby resizing the notes. (macOS: [Cmd] + drag left/right border) Drag note vertically Group view: Moves selected notes to another Sound of the Group.
Page 437 Working with Patterns Editing Events ▪ All other notes in the selection are moved or resized by the same amount (regardless of their own quantizing rules). When resizing, if the notes have different lengths the length differences are retained as long as no event becomes shorter than one step. For example, if you have a drum roll, a flam or any custom sequence happening right before a beat, this allows you to move the whole sequence to another beat with a perfect timing while keeping its feel untouched.
Page 438: Deleting Events/Notes
Working with Patterns Editing Events ► Press SHIFT + pad 7 (NUDGE <) to nudge the selected events to the left, or SHIFT + pad 8 (NUDGE >) to nudge the selected events to the right. If nothing is selected, all event/ notes in the Pattern will be affected.
Page 439 Working with Patterns Editing Events Mouse in Pencil Mode ► To delete an event, simply click it. Click and hold an event and move the cursor to quickly delete series of events. The quickest and easiest way to delete events is the following: Press EVENTS.
Page 440: Cut, Copy, And Paste Events/Notes
Working with Patterns Editing Events ► While the Pattern is playing, hold ERASE + the desired pad to progressively delete the events for that Sound (if pads are in Pad Mode) or the notes at that pitch for the focused Sound (if pads are in Keyboard mode) as they are reached by the playhead.
Page 441 Working with Patterns Editing Events ² The events will be pasted according to the rules described hereinafter. If no event is se- lected, all displayed events will be affected: in Keyboard view these are all events of the focused Sound; in Group view these are all events of all Sounds within the Group (see section ±11.1.5, Group View and Keyboard View for more information on Group view and...
Page 442 Working with Patterns Editing Events ▪ If you paste the events via the shortcut on your computer keyboard while playback is off: ◦ If you haven9t changed the Sound focus or the playhead position, events are pasted one step after the original events. ◦...
Page 443: Quantizing Events/Notes
Working with Patterns Editing Events 11.4.7 Quantizing Events/Notes Quantization is the process of moving events to the closest steps. You can quantize your notes at any time, no matter how you recorded them. They will be quantized according to the step size (i.e.
Page 444 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 445: 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 ±11.4.3, Selecting Events/Notes to know how to select events. To apply full quantization to the selected events, press SHIFT + pad (QUANTIZE).
Page 446: Doubling A Pattern
Working with Patterns Editing Events ► Click the Quantize menu and select the desired Input Quantization mode from the three modes available (see their description above). 11.4.9 Doubling a Pattern Your controller provides a useful shortcut to double the length and content of the current Pat- tern.
Page 447: Recording And Editing Modulation
Working with Patterns Recording and Editing Modulation When adding Variation to your Patterns, please be aware Random mode conforms to the selected Scale. To access Variation mode: Press SELECT + Sound (1316). Press VARIATION to access the Variation controls. Press the Left or Right Arrow to access Humanize or Randomize mode. Turn the Encoder to choose an amount.
Page 448: Which Parameters Are Modulatable
Working with Patterns Recording and Editing Modulation Modulation Automation Source of control Internal (e.g., changes External (e.g., an external recorded via Auto-write) MIDI sequencer or an automation track in your host) Duration of the change Temporary (until the end of Permanent the Clip) Target parameters...
Page 449 Working with Patterns Recording and Editing Modulation In order to be modulatable, parameters of Plug-ins and Channel properties have to meet fol- lowing requirements: ▪ The parameter must be controlled by a knob or a button in the software. Most parameters controlled by selectors (e.g., for selecting an operating mode or a filter type) cannot be modulated 4 however there are a few exceptions.
Page 450: Recording Modulation
Working with Patterns Recording and Editing Modulation 11.5.2 Recording Modulation If you take a closer look at the knobs in the software Parameter pages of the Control area you will notice they have an outer ring that changes its color to light grey as soon as you hover over it with the cursor.
Page 451: Creating And Editing Modulation In The Control Lane
Working with Patterns Recording and Editing Modulation You can also create and edit modulation tracks directly in the Control Lane. See section The Record Prepare Mode for more information. To modulate a parameter with the controller: Press PLUG-IN. Navigate to the parameter you want to modulate. To do this, put the focus on the desired ±3.3.3, Focusing on a Group or a Group or Sound (see Sound), navigate to the desired...
Page 452 Working with Patterns Recording and Editing Modulation 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. Click the little bar icon left of the Control Lane to display the Modulation pane. ²...
Page 453 Working with Patterns Recording and Editing Modulation ◦ Left of the modulation track, a vertical scale indicates the value range for that param- eter. In the modulation track you can create, edit, and delete modulation points (see below). The range of the vertical value scale left of the modulation track depends on the current, non-modu- lated value of the selected parameter: Since modulation points set new values relative to the non- modulated value of the parameter, this scale allows you to see at any time the real values that will be set by the various modulation points in the track.
Page 454 Working with Patterns Recording and Editing Modulation Mouse Edit Mode Available Mouse Actions (1) Select mode To create modulation points, double-click in the Control Lane 4 other points on this step will be replaced. To delete a modulation point, right-click it ([Ctrl]-click it on macOS). To edit an existing modulation point, drag it vertically (you can also drag the horizontal segment following the point instead).
Page 455 Working with Patterns Recording and Editing Modulation To create a new modulation track: To create a new modulation track for a parameter of a Sound, click the desired Sound in the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area.
Page 456: Creating Midi Tracks From Scratch In Maschine
Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE When you load a Plug-in in a channel (Sound or Group) its modulatable parameters will automati- cally show up in the menu of available parameters when this channel is focused. Resetting a Modulation Track ►...
Page 457 Working with Patterns Creating MIDI Tracks from Scratch in MASCHINE ▪ When playback is on, the content of these tracks is sent in real time as MIDI data via the MIDI output of the Sound (if enabled). Configuring the MIDI output of Sounds is done in ±12.2.5, Sending MIDI MIDI page of the Sound9s Output properties 4 see section...
Page 458: Managing Patterns
Working with Patterns Managing Patterns At the end of the list of MIDI controls nearby, click the <+= to add a new MIDI track. A new entry appears at the end of the list reading assigned. Right-click ([Ctrl]-click on macOS) this Not assigned entry and select the desired MIDI control from the context menu.
Page 459: The Pattern Manager And Pattern Mode
Working with Patterns Managing Patterns 11.7.1 The Pattern Manager and Pattern Mode In the software, all Pattern management operations are done in the Pattern Manager: ► To open the Pattern Manager, click the Pattern Manager button (a down-pointing arrow) at the left of the name of the selected Pattern.
Page 460: Selecting Patterns And Pattern Banks
Working with Patterns Managing Patterns ▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots containing a Pattern show a colored bar on the left along with the Pattern name. The other slots contain no Pattern.
Page 461 Working with Patterns Managing Patterns The selected Pattern is named Basics. Selecting a Pattern: ±11.7.1, The Pattern Manager and Pattern Open the Pattern Manager (see Mode). If it is not already selected, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right.
Page 462 Working with Patterns Managing Patterns Selecting a Pattern ► To select a Pattern in the current Pattern bank, press PATTERN + the dim lit pad corre- sponding to the cell of the desired Pattern on the right display. ² Selecting a Pattern has the following consequences: ▪...
Page 463: Creating Patterns
Working with Patterns Managing Patterns 11.7.3 Creating Patterns First of all, you don9t 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 ±11.4.2, Creating Events/Notes section...
Page 464: Deleting Patterns
Working with Patterns Managing Patterns ² A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any previous Clip for the Group in that Scene (see chapter ±16.3, Using Song View for more...
Page 465: Creating And Deleting Pattern Banks
Working with Patterns Managing Patterns On the right of the Pattern slot, click the little cross icon: You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Delete from the context menu: ²...
Page 466 Working with Patterns Managing Patterns Creating a Pattern Bank If the last Pattern bank contains at least one Pattern (even empty), you can create an addition- al Pattern bank after that last bank. To do this: ±11.7.1, The Pattern Manager and Pattern Open the Pattern Manager (see Mode).
Page 467: Naming Patterns
Working with Patterns Managing Patterns Click the little cross to delete that Pattern bank. ² The Pattern bank is deleted including all its Patterns, if any. The following banks are shifted up to fill the gap. If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! 11.7.6 Naming Patterns...
Page 468 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. 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:...
Page 469: 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. ² The Pattern is renamed.
Page 470: 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 471 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: ²...
Page 472 Working with Patterns Managing Patterns Right-click (on macOS: [Ctrl]+click) the Event area9s background and choose Copy from the slot9s context menu: Select the Group in which you want to paste the Pattern9s content. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again.
Page 473: Moving Patterns
Working with Patterns Managing Patterns ² The Pattern is copied to the target pad. The target pad then starts flashing and you can further copy/paste it to other slots. This procedure has following benefits: ▪ You can paste the copy into the Pattern slot of your choice 4 empty or not. If the target Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
Page 474: Importing/Exporting Audio And Midi To/From Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ² The Pattern takes its new place. If you drop the Pattern onto a slot, the current Pattern in that slot is replaced (if any). The Clips that were referencing this Pattern will reference the moved Pattern instead.
Page 475 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ±11.7.2, Selecting Patterns Select the Pattern you want to export audio from (see section and Pattern Banks). If you want to export multiple Sounds of the Group, switch the Pattern Editor to Group view, mute the Sounds you want to exclude from the exported audio file (see section ±6.3.1, Mute and Solo), and check that the Group itself is not muted 4 otherwise the...
Page 476: Exporting Midi From Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns 11.8.2 Exporting MIDI from Patterns You can export MIDI files from selected Patterns. This is useful if you want to use or edit them in another application. This function is only available in the software. The MIDI file will be exported according to the Channel Transpose...
Page 477 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can even drag the MIDI Dragger icon onto another Sound or Group in MASCHINE! In this case the MIDI file will be directly imported into a Pattern of the selected Group according to the rules ±11.8.3, Importing MIDI to described in section Patterns.
Page 478: Importing Midi To Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ² The MIDI file is exported to the selected location. Sounds which do not contain note events in a Group Pattern are exported as empty MIDI tracks. This way, if you are exporting multiple Patterns and some Sounds in the Group only have notes in some of these Patterns, you will get a consistent assignment of notes to MIDI tracks across all exported Patterns.
Page 479 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 480 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. ² The MIDI file will be imported to the selected Pattern of the Group according to the im- port rules described below.
Page 481 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 4 this en- sures that the imported MIDI data will correctly trigger all MASCHINE factory kits. ◦...
Page 482 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 483 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). ² The MIDI file will be imported to the selected Pattern for that Sound according to the im- port rules described below.
Page 484 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 ±4.6, Loading and Importing Files from Your File System to know how to use the FILES pane).
Page 485 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. ² New Patterns will be created for that Group.
Page 486 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. ² New Patterns will be created for that Sound in the Group, each new Pattern receiving the data from one of the MIDI files.
Page 487: 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 MASCHINE9s routing and assign- ment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪...
Page 488: Audio Routing In Maschine
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1 Audio Routing in MASCHINE MASCHINE offers a powerful audio routing system that you can finely customize to fit your specific needs. To make it short, by default the various channels of MASCHINE are structured in a simple, hi- erarchical way: ▪...
Page 489: 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 490 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 Sound9s 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 491 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE If MASCHINE is running as a plug-in, the external stereo inputs Ext. 134 available in the Source selector of the MAIN section will correspond to virtual inputs in your host. This allows you to send mixer channels from your DAW to individual Sounds within MASCHINE, for example.
Page 492 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. If the Mixer currently displays the Sound channels, single-click the header of the desired Group.
Page 493: Configuring The Main Output Of Sounds And Groups
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Turn the little knob on its left to adjust the input gain. This is equivalent to setting the Gain parameter described above. 12.1.2 Configuring the Main Output of Sounds and Groups By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed together and processed by the Plug-ins loaded in the Group, if any.
Page 494 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE ±3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Please refer to section Control Area to know how to access the Audio page of the Output properties in the software and from your controller.
Page 495 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 ±6.3.1, Mute and Solo tails from notes already played.
Page 496 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position. For Sound slots, the knobs are visible only when the Pattern Editor is in Pad Mode. In Keyboard mode, the knobs are not visible.
Page 497 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 498: 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 channel9s 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 499 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. Please refer to section ±3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the page of the Output properties in the software and from your controller.
Page 500 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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 4 if not, click it to enable it...
Page 501: Configuring The Master And Cue Outputs Of Maschine
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE In the channel strip of the desired Sound or Group, click the AUX 1 AUX 2 label (de- fault labels) at the bottom of the strip and select the desired destination in the menu. This is equivalent to setting the Dest.
Page 502 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Besides, all channels currently routed to the Cue bus for pre-listening are mixed together and sent to the Cue output. For more information on how to use the Cue bus, see section ±13.2.6, Using the Cue Bus.
Page 503 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Output Selects where you want to send the Cue bus of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 13 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 504 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Click the background of the last header in the top right corner of the Mixer. The Master/Cue channel strip appears underneath. In this Master/Cue channel strip, do the following to configure the output of the Master chan- nel: Click Master...
Page 505 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE To select another destination for the Master output, click the first area under the level meter and select the desired destination in the menu. This is equivalent to setting the Output parameter in the MAIN...
Page 506: Mono Audio Inputs
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE To adjust the level and panoramic position of the Cue output, use the channel9s fader and balance control (above the fader), respectively. This is equivalent to setting the Level parameters in the section, respectively (see above).
Page 507: 12.1.5.1 Configuring External Inputs For Sounds In Mix View
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external mono or stereo input. The same external signal can be fed into any number of Sounds. For example, this allows you to process any external audio signal using the plug-ins loaded in a Sound, and more generally, integrate external audio signals into the MASCHINE routing and processing system.
Page 508 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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 4 if not, click it to enable it...
Page 509 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. If the Mixer currently displays the Sound channels, single-click the header of the desired Group.
Page 510: Using Midi Control And Host Automation
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2 Using MIDI Control and Host Automation MASCHINE provides you with flexible MIDI remote control and host automation facilities that can be used in many situations. Incoming MIDI and Host Automation MASCHINE9s 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 511: 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 ±12.2.5, Sending MIDI from MIDI pattern in your host application.
Page 512 MIDI channel 1 and all incoming notes on channel 2. ▪ The MIDI input settings described here also affect other MASCHINE features: ◦ The preset selection via MIDI Program Change for Native Instruments and External ±12.2.4, Selecting VST/AU Plug-in Presets via MIDI Program Plug-ins.
Page 513 C2 upwards. If nothing is loaded on a Sound nothing can be triggered, and if you use a Native Instruments KOMPLETE KONTROL S-series keyboard the Light Guide will remain white to indicate that nothing loaded.
Page 514 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Controls Description Source (stand-alone and Select the MIDI port on which the Sound or Group will receive MIDI in Manual mode only) notes. Available entries are None (MIDI note input disabled, default setting), All (MIDI notes are received on all enabled input ports), and each enabled MIDI input port.
Page 515 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Some of these parameters also affect MIDI file import: The Channel parameter of a Sound will be used when importing a multi-channel MIDI file to its Group, while the Root Note parameter will be used when importing a single-channel MIDI file to the Group.
Page 516 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Check that the button is active on the left of the Mixer 4 if not, click it to enable it and display the input/output settings of each channel strip. Above the fader area in the channel strip of the Sound or Group you want to configure, click the bigger field on the right (labeled MIDI IN...
Page 517: Triggering Scenes Via Midi
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Click the little field on its left to select a MIDI channel. This is equivalent to the Channel parameter described above. 12.2.2 Triggering Scenes via MIDI The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program Changes) which can be used to trigger scenes.
Page 518: Controlling Parameters Via Midi And Host Automation
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation If necessary, reopen the same submenu and select the MIDI channel the Scene changes should receive MIDI messages from (channel 1 by default). MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from the MIDI source.
Page 519 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Modulation Automation Source of control Internal (e.g., changes External (e.g., an external recorded via Auto-write) MIDI sequencer or an automation track in your host) Duration of the change Temporary (until the end of Permanent the Clip)
Page 520 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation In the left part of the Assignment area, click the Automation tab: ² Automation tab lights up and the Automation pane appears on its right. You are now ready to configure MIDI and host automation for the parameters in the current Parameter page.
Page 521 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation A MIDI CC assignment for the current Parameter page. A few host automation assignments for the current Parameter page. The following paragraphs describe in more details how to assign MIDI controls and host auto- mation IDs to MASCHINE parameters.
Page 522 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ Plug-ins: ◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button section). ◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page.
Page 523 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation On the left of the Assignment area, click the Automation tab to show the Automation pane, then in this pane click the Host tab. Click the Enable label in the Assignment field under any unassigned parameter to auto- matically assign that parameter to the next free automation ID.
Page 524 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ² The previous automation ID is removed from the Assignment field and the parameter is not available anymore for host automation. For more information on how to automate VST/AU plug-in parameters from your host, please refer to your host documentation.
Page 525 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Click Learn in the Assignment field of a parameter to enter Learn mode for that parame- ter. The Assignment field shows a blinking Learning. Move the desired control element (knob, button, etc.) on your MIDI controller. ²...
Page 526: Selecting Vst/Au Plug-In Presets Via Midi Program Change
12.2.4 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 527: Sending Midi From Sounds
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 12.2.5 Sending MIDI from Sounds Your Sounds can output MIDI notes and automation data to the outside world, allowing you to control any MIDI-capable application and/or external MIDI gear from MASCHINE9s sequencer. With its MIDI output enabled, a Sound will send: ▪...
Page 528 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ±3.3.5, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Please refer to section Control Area to know how to access the MIDI page of the Output properties in the software and from your controller.
Page 529 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 4 if not, click it to enable it...
Page 530 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 531: 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 12.3 Creating Custom Sets of Parameters with the Macro Controls Macro Controls enable you to control in one same location a selection of parameters coming from different sources.
Page 532: Assigning Macro Controls Using The Software
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls A Macro Control of a channel can control any parameter located in the properties or Plug-ins of that channel or of any underlying channel. In other words: ▪...
Page 533 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Assigning Macro Controls from Parameters Assigning a parameter as a Macro from a Channel or Plug-in properties is quick and easy. You can simply right-click ([Ctrl]-click on macOS) a parameter name and select which Macro level you want to assign it to.
Page 534 Pages tab is grayed out and inactive. For more information on how to assign parameters of Native Instruments or External Plug-ins to Parameter pages, please refer to ±7.3.3, Setting Up Your Own Parameter Pages.
Page 535 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control area with Macro Properties displayed and the Pages pane active in the Assignment area underneath. (1) Delete Page button (<x= symbol): Click the little <x= after a page name to delete this Parame- ter page.
Page 536 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls (7) Target selector: Displays and selects the target parameter of the selected Macro Control in- dicated by the Focus frame (5). This multi-level drop-down widget allows you to quickly navi- gate through the structure of the channel to the desired parameter.
Page 537 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Upon your selection in the previous menu, the menu takes the name of your selection, and another menu may appear to the right which allows you to refine your search (e.g., by listing all Parameter pages of the selected Plug-in or Channel properties).
Page 538 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro. Cut the Macro to paste it in another Ctrl + X / Cmd + X position.
Page 539: 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 540: 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 views and the Mix view. 13.1.2 Mix View Elements When you switch the MASCHINE software to Mix view, the Arranger, the Control area, and the Pattern Editor disappear and are replaced with the following three elements: 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.
Page 541: The Mixer
Controlling Your Mix The Mixer (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project. You can change these settings on the fly, select or put the focus on any channel, etc.
Page 542 Controlling Your Mix The Mixer The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips. The particular channel strips displayed along with their precise layout depend on the following: ▪...
Page 543: Displaying Groups Vs. Displaying Sounds
Controlling Your Mix The Mixer 13.2.1 Displaying Groups vs. Displaying Sounds The Mixer provides two display modes, allowing you to focus on the current context: ▪ Group level: The Mixer shows channel strips for all Groups of your Project. ▪ Sound level: The Mixer shows channel strips for all Sound slots in the focused Group. Both display modes are described in the following paragraphs.
Page 544 Controlling Your Mix The Mixer Mixer Displaying the Sound Level The Mixer can alternatively display the Sounds slots of a particular Group: In this mode the desk9s input strips (1) represent all Sounds of the focused Group, while the output strip at the far right (2) represents that focused Group. At the top of the Mixer you see two rows: ▪...
Page 545: Adjusting The Mixer Layout
Controlling Your Mix The Mixer Make sure that you double-click in the header background and not on the number or letter+number in the top left corner of the header 4 instead of switching the Mixer between both views this would mute/unmute the Group channel in question! 13.2.2 Adjusting the Mixer Layout...
Page 546: 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 547: 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 548 Controlling Your Mix The Mixer The channel9s 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 549: Adjusting Settings In The Channel Strips
Controlling Your Mix The Mixer 13.2.5 Adjusting Settings in the Channel Strips The layout of Sound and Group strips is close to that of a classical mixing desk. The signal travels from top to bottom: from the input routing settings at the top, it passes through the 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 550 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 4 see section ±13.2.2, Adjusting the Mixer Layout more information.
Page 551 Controlling Your Mix The Mixer ▪ Switch the Mixer display between Sounds and Groups (see section ±13.2.1, Displaying Groups vs. Displaying Sounds). ▪ Focus/select particular channels (see section ±13.2.3, Selecting Channel Strips). ▪ Rename the channel: Double-click its current name, type a new name on your computer keyboard, and press [Enter] to confirm (or [Esc] to cancel).
Page 552 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 ±7.1, Plug-in view. For all details, see section Overview. (5) Fader section: Allows you to adjust the channel9s level, panoramic position, Mute and Cue state.
Page 553: 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 554 Controlling Your Mix The Mixer ▪ Metronome (see section ±11.2.2, Using the Metronome). ▪ Pre-listening functions in the Sample Editor when recording (see section ±17.2.2, Select- ing the Source and the Recording Mode) or slicing Samples (see section ±17.4, Slicing a Sample).
Page 555: The Plug-In Chain
Controlling Your Mix The Plug-in Chain Click the headphone icon in the Master header. ² The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue channel9s level and panoramic position, along with the destination you want to send the Cue channel to.
Page 556: The Plug-In Strip
Plug-in back into the processing chain. See section 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 ±7.1.9, Saving and Recalling Plug-in Presets ±7.3.4, Us- Plug-in presets.
Page 557 ±13.4.4, Custom Panels for Native Instru- each particular Native Instruments product: ments Plug-ins. ▪ Native Instruments and External Plug-ins can also be undocked and opened in a floating ±13.4.5, Undocking a Plug-in Panel (Native Instruments and External Plug-ins window: Only).
Page 558: The Plug-In Header
Use the vertical scroll bar to display the rest of the Plug-in. 13.4.1 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 MIKRO - Manual - 558...
Page 559 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 ±13.4.4, arrow icon to open/close the Plug-in interface in an external window. See section Custom Panels for Native Instruments Plug-ins for more on this.
Page 560: Panels For Drumsynths And Internal Effects
Controlling Your Mix The Plug-in Strip 13.4.2 Panels for Drumsynths and Internal Effects For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual representations of the Plug-ins and their parameters. The Plug-in panel of a Drumsynth and two Internal Effects. As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in Header at the top.
Page 561: 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 ±9, Using the Drumsynths ±15, Effect Reference for Drumsynths and chapter for Internal Ef- fects. Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the val- ue of modulated parameters might change even if their control element doesn9t move in the panel.
Page 562 Controlling Your Mix The Plug-in Strip Sampler 3 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 563 Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parame- ±7.2.2, ters from the Pitch/Envelope page in the Control area. For more details, see section Page 2: Pitch / Envelope.
Page 564: Custom Panels For Native Instruments Plug-Ins
13.4.4 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 565 Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 59s Default view shows the main elements of the Perform window of AB- SYNTH 5: MASCHINE MIKRO - Manual - 565...
Page 566 Controlling Your Mix The Plug-in Strip ▪ MASSIVE9s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE MIKRO - Manual - 566...
Page 567 ▪ GUITAR RIG9s 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 ±13.4.1, The Plug-in Header...
Page 568: 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 569 Controlling Your Mix The Plug-in Strip When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin Plug-in placeholder (see below). Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are auto- matically opened in floating windows when loaded from the Plug-in menu.
Page 570 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 571: 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 572 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 573 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 574 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 575 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 576 Using Effects Applying Effects to a Sound, a Group or the Master If it9s 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 4 if not, click it to display the Plug-in List in each channel strip.
Page 577 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 Mixer9s 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 578: Other Operations On Effects
Using Effects Applying Effects to a Sound, a Group or the Master 14.1.2 Other Operations on Effects You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably in- cludes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots, saving and recalling effect presets, etc.
Page 579: Using The Side-Chain Input
±7.1, Plug-in For detailed information on these topics, please refer to Overview. For more de- ±7.3, tails on the specific operations available for Native Instruments and External Effects, see Using Native Instruments and External Plug-ins. 14.1.3 Using the Side-Chain Input For certain Plug-ins, MASCHINE allows you to use a side-chain input to control how the effects process the audio.
Page 580 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 581 Using Effects Applying Effects to a Sound, a Group or the Master Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.
Page 582: Applying Effects To External Audio
Using Effects Applying Effects to External Audio 14.2 Applying Effects to External Audio MASCHINE9s flexible routing facilities allow you to apply effects to external audio as well. This external audio can come from the inputs of your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used as a plug-in.
Page 583: 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 584: Creating A Send Effect
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 585: Step 1: Set Up A Sound Or Group As Send Effect
Using Effects Creating a Send Effect 14.3.1 Step 1: Set Up a Sound or Group as Send Effect The procedure to set up a Sound or Group as a send effect is straightforward: You just need to load an effect into its first Plug-in slot 4 MASCHINE will take care of the rest and make it available as destination for other channels of your Project! The procedure in Arrange view is described here.
Page 586 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 587: Step 2: Route Audio To The Send Effect
Using Effects Creating a Send Effect ² The Sound slot now mirrors the Plug-in name. ±5.2.3, Renaming Sound For more information on renaming Sound slots, see section Slots. 14.3.2 Step 2: Route Audio to the Send Effect ±14.3.1, Step 1: Set Up a Once you have configured a Sound or Group as send effect (see Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to...
Page 588: Creating Multi-Effects
Using Effects Creating Multi-Effects When setting up complex routings, please take care to avoid feedback loops! In addition, the following points are worth noting: ▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many Sounds and Groups instead of loading another reverb in each Sound/Group makes a big dif- ference on the CPU load.
Page 589 Using Effects Creating Multi-Effects ▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plug- in List in a single Sound. ▪ You can rename and colorize each Sound individually according to the effect(s) it contains. ▪...
Page 590 Using Effects Creating Multi-Effects However, take time to name every Sound in this multi-effect Group after the effect(s) inserted and to give it a name that allows you to recognize it as an effect; remember that you will be choosing this effect from a potentially large list in your user library. In the MASCHINE Library there are already a number of multi-effect Groups tagged Multi Groups of the Multi FX type in the LIBRARY pane.
Page 591: 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 MASCHINE9s 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 592: Dynamics
Effect Reference Dynamics 15.1 Dynamics 15.1.1 Compressor This is a classic compression effect to control the dynamic information of an audio signal. You can use the Compressor to fatten up your drums or to control signals that have a very wide dy- namic range.
Page 593 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 594 Effect Reference Dynamics Side-Chain Input Page The Compressor in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.
Page 595: Gate
Effect Reference Dynamics On your controller the outputs available in the SOURCE parameter are labeled as in the display of Source selector described above. For more information on how to use the side-chain input, please refer to section ±14.1.3, Using the Side-Chain Input.
Page 596 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 597 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. Side-Chain Input Page The Gate in the Control area: Side-Chain Input page.
Page 598: Transient Master
Effect Reference Dynamics Parameter Description Gain Adjusts the input level of the side-chain signal fed into the Plug-in. FILTER Section Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in.
Page 599 Effect Reference Dynamics fect (no threshold) but rather affects all parts of the signal. This retains the musical character of your sound while keeping operation simple and intuitive: Adjust the desired amount of ac- centuation for the attack and/or sustain phases and you9re all set! The Transient Master panel in the Plug-in Strip.
Page 600: 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 601 Effect Reference Dynamics Main Page The Limiter in the Control area: Main page. Element Description MODE Section Mode Selects from two different limiter types. The available modes are Legacy and Transparent. DEPTH Section (Transparent mode only) Threshold This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB;...
Page 602 Effect Reference Dynamics Side-Chain Input Page The Limiter in the Control area: Side-Chain Input page. The Modulation page contains one parameter: Velocity. MASCHINE MIKRO - Manual - 602...
Page 603 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 604: Maximizer
Effect Reference Dynamics Input Level Meter in the Limiter Panel (Plug-in Strip) In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area: 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 605 Effect Reference Dynamics Parameter Description DEPTH Section Amount This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal. Curve Controls the compression knee; higher values tend to result in faster and more aggressive gain control.
Page 606 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 607: Filtering Effects
Effect Reference Filtering Effects 15.2 Filtering Effects 15.2.1 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 608 Effect Reference Filtering Effects Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. LOW-MID Section Freq Frequency selector for the first mid-frequency band. Ranges from 40 Hz to 16 kHz.
Page 609: Filter
Effect Reference Filtering Effects Width / Output Page The EQ in the Control area: Width / Output page. Parameter Description LOW-MID Section Width Bandwidth control for the first mid-frequency band. HIGH-MID Section Width Bandwidth control for the second mid-frequency band. OUTPUT Section Gain Gain control for the EQ altogether.
Page 610 Effect Reference Filtering Effects The Filter panel in the Plug-in Strip. Main Page The Filter in the Control area: Main page. Parameter Description TYPE Section Mode Select between four different filter modes: LP (low-pass), BP (band- pass), HP (high-pass), and Notch. Depending on the mode selected, the following parameters vary as indicated.
Page 611 Effect Reference Filtering Effects Parameter Description Amount Defines how much the Filter gets modulated by the modulation source. Source Select between three different modulation sources: LFO, LFO Sync, and Envelope. Depending on your choice for the modulation source, the following parameters appear to the right: Source: LFO Articulates the opening and closing of the filter using an LFO.
Page 612 Effect Reference Filtering Effects Side-Chain Input Page The Filter in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.
Page 613: Cabinet
Effect Reference Filtering Effects On your controller the outputs available in the SOURCE parameter are labeled as in the display of Source selector described above. For more information on how to use the side-chain input, please refer to section ±14.1.3, Using the Side-Chain Input.
Page 614 Effect Reference Filtering Effects Main Page Element Description CABINET Section Cabinet Selects from four different cabinet types, which includes: ▪ American Cabinet ▪ British Cabinet ▪ Vintage Cabinet ▪ Modern Cabinet MICROPHONE Section Microphone Selects from six different microphone types, which includes: ▪...
Page 615: Modulation Effects
Effect Reference Modulation Effects 15.3 Modulation Effects 15.3.1 Chorus The Chorus is useful to <thicken= signals and enhance or add stereo content. It is most 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 616: Flanger
Effect Reference Modulation Effects Parameter Description 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. 15.3.2 Flanger Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the Chorus, but the difference between them is that the Flanger modulates the signal faster, it is equipped with a feedback mechanism, and can be synchronized to the tempo of the Project.
Page 617 Effect Reference Modulation Effects Parameter Description MAIN Section Frequency This defines the center frequency of the Flanger. Feedback Adjusts the amount of output signal fed back into the input. Invert Inverts the Flanger. MOD Section Amount This defines how much the Flanger gets modulated by the modulation source.
Page 618 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 619: Freq Shifter
Effect Reference Modulation Effects 15.3.4 Freq Shifter The Freq Shifter shifts selected frequencies of the audio signal by a user-specified amount. With high frequencies it sounds like a pitch shifter; with low frequencies it sounds like a spe- cial chorus. The Freq Shifter panel in the Plug-in Strip.
Page 620: Phaser
Effect Reference Modulation Effects Parameter Description Stereo This parameter widens the stereo field of the effect. Invert Inverts the settings of the Freq Shifter. lets you adjust the amount of the effect in relation to the dry original audio signal. 15.3.5 Phaser Classic phaser with LFO and envelope modulation.
Page 621: Spatial And Reverb Effects
Effect Reference Spatial and Reverb Effects Parameter Description Feedback Adjusts the amount of output signal fed back into the input. 8Pole Activating this causes the Phaser to use the 8Pole mode, resulting in a more intense phasing effect. MOD Section Amount This defines how much the Phaser gets modulated by the modulation source.
Page 622 Effect Reference Spatial and Reverb Effects The Ice panel in the Plug-in Strip. The Ice in the Control area. Parameter Description ROOM Section Color With lower settings, the general sound is a bit more muffled. The higher the Color value, the brighter it sounds. The <ICE= factor: higher values sound more metallic.
Page 623: Metaverb
Effect Reference Spatial and Reverb Effects 15.4.2 Metaverb Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Re- verb it has a much more <synthetic= sound, which is particularly suited for melodic content. The Metaverb panel in the Plug-in Strip. The Metaverb in the Control area.
Page 624: Reflex
Effect Reference Spatial and Reverb Effects Parameter Description This pans the dry signal. This is useful because the dry signal can not be panned after the effect without panning the reverb itself, which is unnatural. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal.
Page 625: Reverb (Legacy)
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 626 Effect Reference Spatial and Reverb Effects The Reverb panel in the Plug-in Strip. The Reverb in the Control area. Parameter Description ROOM Section Room This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter. Size Adjust the size of the virtual room here.
Page 627: Reverb
Effect Reference Spatial and Reverb Effects Parameter Description Stereo This parameter widens the stereo field of the effect. OUTPUT Section Freeze Enabling Freeze both mutes the dry signal and traps the current state of the Reverb output in a temporary buffer to make it last much longer.
Page 628 Effect Reference Spatial and Reverb Effects The Reverb effect in the Plug-in Strip. The Reverb in the Control area (Main page depicted). Main Page Element Description ROOM Section Mode Allows you to choose one of three basic modes of Reverb: Room, Hall, and Plate (default: Room).
Page 629 Effect Reference Spatial and Reverb Effects Element Description Damping Adjusts damping of the high frequencies in the reverb signal. Damping refers to the rate at which the high frequencies decay. This effect causes the sound to become gradually muffled and warmer.
Page 630: 15.4.5.2 Reverb Hall
Effect Reference Spatial and Reverb Effects Element Description EQ Section High Cut Adjusts the high frequencies in the reverberated signal. Available values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0 kHz). Low Shelf Adjusts the low-frequency content in the reverberated signal. Available values range in decibels from -0.0 dB to -12.0 dB (default: -0.0 dB).
Page 631 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 632 Effect Reference Spatial and Reverb Effects Element Description Softness Alters the balance between early reflections and the late reverb tail. It also changes the amount of diffusion present. It allows you to soften the attack of the reverb and push it more into the background, so it doesn't muddy the dry sound so much.
Page 633: 15.4.5.3 Plate Reverb
Effect Reference Spatial and Reverb Effects 15.4.5.3 Plate Reverb This effect emulates a plate reverberator. Partly inspired by a legendary plate reverb system, this efficient reverb effect can be used in numerous situations. Its controls make the Plate Re- verb easy to use while still flexible and unique sounding. The Plate Reverb is the best choice if a vintage metallic sound is desired.
Page 634: Delays
Effect Reference Delays Parameter Description EQ Section Low Shelf Controls the low-frequency content in the reverberated signal. High Damp Adjusts the damping of the high frequencies in the reverberated signal. Pre Delay Adjusts the time between the original signal and the early reflections.
Page 635 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 636: Grain Delay
Effect Reference Delays Parameter Description Stereo This parameter widens the stereo field of the effect. Values go from -100.0 % to 100 % 4 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 637 Effect Reference Delays The Grain Delay panel in the Plug-in Strip. Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher.
Page 638: Grain Stretch
Effect Reference Delays Parameter Description Density Creates a more <dense= cloud: higher values create feedback- like effects. The amount of modulation introduced to the grain cloud. lets you adjust the amount of the effect in relation to the dry original audio signal. Output Page The Grain Delay in the Control area: Output page.
Page 639 Effect Reference Delays The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area. 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.
Page 640: Resochord
Effect Reference Delays Parameter Description OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal. 15.5.4 Resochord The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the selected chord.
Page 641 Effect Reference Delays Parameter Description PITCH Section Mode Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords. In String mode, the 6 combs are centered around one frequency and can be spread for an intense chorus-like effect.
Page 642: Distortion Effects
Effect Reference Distortion Effects 15.6 Distortion Effects 15.6.1 Distortion The Distortion effect contains two modes of distortion: Mullholland and Analog. The Distortion panel in the Plug-in Strip. The Distortion in the Control area. Mullholland Mode Mullholland mode combines overdrive, feedback and modulation, this produces a heavy distor- tion/fuzz effect, comparable to distortion stomp-boxes for guitars.
Page 643 Effect Reference Distortion Effects Parameter Description MAIN Section Mode Select a distortion type: Mullholland or Analog. Drive Determines the basic amount of distortion. Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Feedback Adjust the amount of output signal fed back into the input.
Page 644: Lofi
Effect Reference Distortion Effects Element Description Bass Attenuates the low frequencies of the distortion effect. Available values range from 0.0 to 100.0% (default: 100.0%). Tone Sets the frequency for the high cut filter. Filtering the harmonically rich distorted signal produces a softer tone. Available values range from 0.0 to 100.0% (default: 100.0%).
Page 645: Saturator
Effect Reference Distortion Effects 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. Smooth Reduces the aliasing introduced by the Lofi effect.
Page 646 Effect Reference Distortion Effects The Saturator panel (here in Tube mode) in the Plug-in Strip. Classic Mode The Classic mode is the legacy mode. It combines compression and saturation to increase the overall loudness and add additional harmonics. The Saturator in Classic mode in the Control area. Classic Mode 3 Parameter Description MAIN Section...
Page 647 Effect Reference Distortion Effects Classic Mode 3 Parameter Description Contour Determines how closely the Saturator responds to the input volume. Higher values create a more distorted sound. Drive Adjusts the amount of distortion introduced by the Saturator. Tape Mode The Tape mode emulates the soft compression and pleasant saturation induced by recording to analogue magnetic tapes.
Page 648 Effect Reference Distortion Effects Tube Mode The Tube mode emulates the smooth saturation of overdriven tube amplifiers. It is equipped with a feedback-driven dynamic compression and an additional EQ section allowing you to fine adjust the frequency content to be processed. The Saturator in Tube mode in the Control area.
Page 649: Perform Fx
Effect Reference Perform FX Tube Mode 3 Parameter Description Bass Adjusts the level of the low frequency band. Treble Adjusts the level of the high frequency band. 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.
Page 650: Filter
Effect Reference Perform FX ▪ Tremolo: Tremolo is a tremolo/vibrato effect, useful for adding expression and movement on ±15.7.7, the fly. For more information see section Tremolo. ▪ Scratcher: At its most basic, Scratcher allows you to apply a turntable "brake" to the incom- ing signal and then scratch it, as if on vinyl.
Page 651 Effect Reference Perform FX Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect. TOUCHSTRIP Section Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes.
Page 652: Flanger
Effect Reference Perform FX Parameter Description Max. Freq Sets the upper limit for cutoff frequency. SATURATION Section Saturation Sets the input gain of the filter. Out Level Sets the output gain of the filter. 15.7.2 Flanger A comb filter effect with more than a few tricks up its sleeve. Get performance-ready flanger or phaser effects, or expose its wild side 3 setting higher decay and frequency values unleashes ping-pong delay-like flutter effects.
Page 653 Effect Reference Perform FX Flanger Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the volume of the comb filter. FLANGER Decay Controls the decay time. SATURATION Controls the saturation in the feedback path, producing a dirtier, compressed sound.
Page 654: Burst Echo
Effect Reference Perform FX Setup Page Parameter Description COLOR Polarity Flips the phase of the signal in the feedback loop. Negative polarity lowers the pitch by an octave and produces a slightly hollower sound. Tone Offers the choice between Flanger mode, essentially a straightforward comb filter or short delay, and Phaser mode, which shifts the phase of the signal in the feedback loop to produce a more rounded, hollow tone.
Page 655 Effect Reference Perform FX Burst Echo Perform FX in the Plug-in Strip. Burst Echo Perform FX in the Control area. MASCHINE MIKRO - Manual - 655...
Page 656 Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. When activated, feeds a burst of signal into the effect according to the length set by the Feed parameter. TS Assign Assigns the control to Feedback or Time. Feedback: Sets the delay feedback when the effect is activated.
Page 657: 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 658 Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area. MASCHINE MIKRO - Manual - 658...
Page 659 Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the filters in the filter bank, altering the tonality of the signal. ECHO Time Sets the delay time. Feedback Sets the delay feedback.
Page 660: Ring
Effect Reference Perform FX Setup Page COLOUR Saturation Controls the amount of saturation applied to the feedback path. Resonance Controls the resonance of the filters in the filter bank. More resonance emphasizes the "singing" effect. 15.7.5 Ring Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic sound sources.
Page 661 Effect Reference Perform FX Ring Perform FX in the Control area. Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Activates the effect. Frequency Controls the frequency of the ring modulators. Spread Controls the frequency spread of the ring modulators. At low Spread values, the ring modulators converge to a single modulation frequency.
Page 662: 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 663 Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area. MASCHINE MIKRO - Manual - 663...
Page 664 Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Controls a hard bypass. Activating the control commences looping, releasing the control bypasses the effect. Length Can be assigned to Length (loop length, by default) or Pitch (relative pitch) using Assign.
Page 665: Tremolo
Effect Reference Perform FX Parameter Description Quantize Quantizes the loop length and start point to the song position and tempo. When Quantize is off, the loop length is continuously variable and measured in milliseconds, and no quantization takes place. Quantization is especially meaningful if direction is set to Reverse or Both, since it's...
Page 666 Effect Reference Perform FX Tremolo Perform FX in the Control area. MASCHINE MIKRO - Manual - 666...
Page 667 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 668: 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 669 Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area. MASCHINE MIKRO - Manual - 669...
Page 670 Effect Reference Perform FX Main Page Parameter Description MODE Mode Select an effect. TOUCHSTRIP Engage Engages the turntable brake, enabling scratch control. When released, the effect is bypassed entirely. Position Controls the brake speed (higher = slower brake), the scratch position (higher = forward) and the delay time (higher = longer delay time).
Page 671: 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 Song view which are also re- flected on your controller.
Page 672 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 673 Working with the Arranger Arranger Basics ±2.3.4, Control (see 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 availa- ble to manage them.
Page 674: Navigating Song View
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 675 Working with the Arranger Arranger Basics ▪ Double-click the main part (1) to reset the zoom and display all of the Sections in your ar- rangement. Navigating the Arranger Vertically A classic scroll bar is available right of the Arranger. It allows you to scroll to view hidden Groups in if they do not fit in the Arranger.
Page 676: Following The Playback Position In Your Project
Working with the Arranger Arranger Basics ► Press SHIFT VARIATION (Navigate) to enter Navigation mode. Action Shortcut Scroll Arranger left Press pad Scroll Arranger right Press pad Zoom in (Arranger) Press pad Zoom out (Arranger) Press pad 16.1.2 Following the Playback Position in Your Project If the Arranger doesn9t 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 677: Performing With Scenes And Sections Using The Pads
Working with the Arranger Arranger Basics The Follow function affects both the Pattern Editor and the Arranger simultaneously (see sec- ±11.1.3, Following the Playback Position in the Pattern tion for more information on the Fol- low function in the Pattern Editor). To follow the playhead position during playback: ►...
Page 678 Working with the Arranger Arranger Basics one quarter note, one eighth note, one sixteenth note, the whole Scene/Section, and Off. If you choose Off, the Scene/Section change will be performed immediately after you select the next loop. ▪ The Retrigger setting lets you decide where the next loop will start: ◦...
Page 679 Working with the Arranger Arranger Basics To adjust the Perform Grid, click the Performance Grid menu in the Header and select the desired division from the menu: ² The next time you select a new Scene/Section or group of Scenes/Sections for looping, the switch will happen on the next division selected here.
Page 680 Working with the Arranger Arranger Basics 16.1.3.2 Jumping to Other Scenes using the Controller In Ideas view the Perform Grid and the Retrigger controls the setting for jump between Scenes, and in Song view it sets the jump between Sections. Setting the Perform Grid and Retrigger Settings To set the Perform Grid and the Retrigger settings: Press...
Page 681: Using Ideas View
Working with the Arranger Using Ideas View Press SHIFT SCENE (Section) to select Section mode. Press the Right Arrow button to access Retrigger. In the display you see the current Retrigger value (Off by default). Turn the Control knob to select On. The next time you select a new Section or loop range, it will start from the beginning.
Page 682 Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode focuses on Scene selection and manipulation.
Page 683: Creating Scenes
Working with the Arranger Using Ideas View In addition, the Scene mode provides useful Scene management commands similar to those of the Scene Arrange mode. These are described in the following sections. 16.2.2 Creating Scenes You can create a new Scene directly in the Ideas view. Creating a Scene in Ideas View ►...
Page 684 Working with the Arranger Using Ideas View In the Ideas view, each column represents a Group. After selecting a Scene it is possible to assign and remove Patterns by clicking the Pattern slots. Any changes made in Ideas view or Song view are one and the same. Assigning and Removing a Pattern in Ideas View Select a Scene slot.
Page 685 Working with the Arranger Using Ideas View ±11, Working with Patterns and the Pattern Editor are described in chapter Patterns. Creating a New Empty Pattern in Ideas View You can also create a new empty Pattern in Ideas view: ► In the Ideas view, double-click the empty Pattern slot located in the column of the de- sired Group.
Page 686: Selecting Scenes
Working with the Arranger Using Ideas View ► Press the desired pad to select the Pattern you want to use in that Scene. ² If you have pressed a dim lit pad, a Pattern is inserted into the selected Scene. If you have pressed an unlit pad, a new empty Pattern is automatically created in the selected Scene.
Page 687 Working with the Arranger Using Ideas View ² The Scene name is now highlighted to indicate that this Scene is selected. Once a Scene Has Been Selected… Once you have selected a Scene, the following happens: ▪ The selected Patterns slots for the focused Scene are highlighted. The Pattern slot with a white frame is displayed in the Pattern Editor.
Page 688: Deleting Scenes
Working with the Arranger Using Ideas View If playback is off the playhead immediately jumps to the beginning of the selected Scene. If playback is on the playhead jumps according to the Perform Grid settings 4 see section Jump- ing to Other Scenes. 16.2.5 Deleting Scenes To delete a Scene in the Ideas view:...
Page 689: Creating And Deleting Scene Banks
Working with the Arranger Using Ideas View 16.2.6 Creating and Deleting Scene Banks A new Scene bank is automatically created once you fill an entire bank with Scenes. 16.2.7 Clearing Scenes Clearing a Scene allows you to remove all its Patterns, leaving the Scene empty. Clearing Scenes is only available from within the software.
Page 690 Working with the Arranger Using Ideas View ▪ duplicate Scenes ▪ duplicate Scenes and Patterns ▪ link when duplicating Sections For more information on the Default page of the Preferences, read: ±3.6.4, Preferences 3 De- fault Page. Duplicating a Scene in the Software To duplicate a Scene in the software: ►...
Page 691: Reordering Scenes
Working with the Arranger Using Ideas View ² The selected Scene is duplicated in accordance with the setting in the Default page of the ±3.6.4, Preferences 3 Default Preferences. For more information, read: Page. 16.2.9 Reordering Scenes Reordering Scenes in Ideas view allows you to visually organize your ideas and also place each idea on a specific pad of your controller.
Page 692: 16.2.10 Making Scenes Unique
Working with the Arranger Using Ideas View ² The Scene takes its new place. On your controller in Scene mode, you can now select this Scene via the pad corresponding to its new location. 16.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique.
Page 693: 16.2.11 Appending Scenes To Arrangement
Working with the Arranger Using Ideas View 16.2.11 Appending Scenes to Arrangement Once you are satisfied with a Scene you can append it directly to your arrangement in the Song view. Appending a Scene to the Arrangement in the Software ►...
Page 694 Working with the Arranger Using Ideas View Double-click the Scene name at the top of the Arranger: You can also right-click ([Ctrl]-click on macOS) the Scene slot or the corresponding cell in the pad grid and select Rename from the context menu: The Scene name gets highlighted and editable.
Page 695 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 696 Working with the Arranger Using Song View 16.3 Using Song View In MASCHINE, a song is made of a variable number of Scenes, which represent the different parts of the song, for example, intro, verse, chorus, break, another verse. By assigning your Scenes to Sections to the Timeline in the Song view you can start to organize your track.
Page 697 Working with the Arranger Using Song View To open the Section Manager, click the drop-down menu on the left of the arrangement. ² The Section Manager appears on the right. Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank. Slots containing a Section show a colored or white bar on the left along with the Section name.
Page 698 Working with the Arranger Using Song View Closing the Section Manager ► To close the Section Manager, click anywhere outside it. Section Manager vs. Arranger’s Top Row If all Section operations can be done in the Section Manager, most of them can also be done in the top row of the Arranger: The top row of the Arranger.
Page 699 Working with the Arranger Using Song View Creating a Section using the Software ► To create a new Section, click the <+= button located after all existing Section names in the top row of the Song view. Click the <+= button to create a new Section. ▪...
Page 700 Working with the Arranger Using Song View ► Right-click ([Cmd] + click on macOS) a Section slot and select Append in the context menu, then for example, select Scene 2 from the submenu. ² The selected Scene is added to the Section. By repeating this for each new Section, you can quickly add Scenes to the Arranger.
Page 701 Working with the Arranger Using Song View ► Select the desired Section by clicking its name at the top of the Song view: ² 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: ±16.3.1, Section Management...
Page 702 Working with the Arranger Using Song 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. ² The Section slot and the corresponding cell on the right are now highlighted to indicate that this Section is selected.
Page 703 Working with the Arranger Using Song View Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank: Press SHIFT SCENE (Section) to access the Song view. Press the Right Arrow button to select Bank. Turn the Encoder to select the Bank you want to add to the Section.
Page 704 Working with the Arranger Using Song View If you have selected a Section within the current Loop Range via the Arrow buttons, the Loop Range and the playback position stay untouched. Selecting Sections and Section Banks on the Controller Selecting a Section Bank To select a Section located in another Section bank: Press SHIFT...
Page 705 Working with the Arranger Using Song View To move a Section: Click and hold the Section name in the Arranger. While holding the mouse button, drag your mouse horizontally in the Arranger to the de- sired location. As the mouse cursor moves, an insertion line appears at the potential places where you can drop the Section.
Page 706 Working with the Arranger Using Song View Press the Right Arrow button to select Position. Press the pad of the Section you want to move. Turn the Encoder to change the position of the selected Section. ² The Section takes its new place. In Section mode you can now select this Section via the pad corresponding to its new location.
Page 707 Working with the Arranger Using Song View ranger, and a Truncated Pattern marker will appear on the right-hand side of the Section to indicate that a section of the Pattern is hidden: ▪ If a Section has been manually shortened, only the visible part of the Pattern within the set length will be audible.
Page 708 Working with the Arranger Using Song View ► Click and drag the end marker of the Section to the left. ² The Scene will be shortened, and if the adjustment is shorter than the referenced Pattern a small Truncated Clip marker will appear on the right-hand side of the Section to indi- cate that a part of the Scene is hidden.
Page 709 Working with the Arranger Using Song View 16.3.6.2 Adjusting the Length of a Section Using the Controller To adjust the length of a Section using your hardware controller: Press SHIFT SCENE (Section) to enter Song view. Select the pad relating to the Section you want to adjust. Press the Right Arrow button to access Length.
Page 710 Working with the Arranger Using Song View ±3.6.4, Preferences 3 De- For more information on the Default page of the Preferences, see fault Page. Duplicating a Section ► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ▪ The selected Section is duplicated in accordance with Scene / Section settings in the fault...
Page 711 Working with the Arranger Using Song View 16.3.8.1 Making Sections Unique At any time, you can make a linked Section totally unique. This will create a new Section in the same location, and will also create new Patterns. You are then free to edit the Patterns in the Section, or the data in the Patterns, without affecting any of the original Sections.
Page 712 Working with the Arranger Using Song View ► In the top row of the Song view, right-click ([Ctrl]-click on macOS) the name of the Sec- tion you want to remove and select Remove from the context menu: ² The Section is removed from the arrangement. The next Sections shift ahead to fill the gap.
Page 713 Working with the Arranger Using Song View To organize your song, you can rename Scenes and use custom names of your own. Naming is only available from within the software, but any changes will also show up in both views of the Arranger (Ideas view and Song view) and on your controller.
Page 714 Working with the Arranger Using Song View 16.3.11 Clearing Sections Clearing a Section allows you to remove the referenced Scene, leaving the Section empty. Clearing Sections is only available from within the software. While deleting a Section removes it entirely from your arrangement, clearing it only removes its con- tent, the Section stays in your arrangement, but empty.
Page 715 Working with the Arranger Using Song View 16.3.13.1 Creating a Pattern in Song View In Song view use the right-click context menu to create a new Pattern within a Section. To create a new Pattern in Song view: ► Right-click ([Ctrl]-click on macOS) an empty cell the Section where you want to create a new Pattern, and click Create in the menu.
Page 716 Working with the Arranger Using Song View ► Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to rename, and click Rename in the menu. ² The Pattern is renamed. 16.3.13.5 Coloring a Pattern in Song View In Song view use the right-click context menu to change the color of a Pattern within a Sec- tion.
Page 717 Working with the Arranger Using Song View ² The selected Pattern is duplicated. The duplicate Pattern will take the place of the exist- ing Pattern in the Scene and appear in each Section where the Scene is used in the ar- rangement.
Page 718 Working with the Arranger Using Song View To enable Auto Length for a Section using your controller: Press SHIFT SCENE (Section) to enter Song view. Press the corresponding pad to select a Section. Press the Arrow buttons to select Length. Turn the Encoder to select Auto.
Page 719 Working with the Arranger Using Song View To move the Loop using the software: ► Click and drag the Loop range left or right. ² The whole Loop range is moved. Activating or Deactivating a Loop in the Software To activate a Loop using the software: ►...
Page 720 Working with the Arranger Playing with Sections Studio Track or Live Performance? If you are composing a studio track that you plan to export as is, you can arrange your Sections so that your whole track can be played in one go from the very first Section to the very last one. ±5.4.3, Exporting Audio Please refer to section for information on exporting audio.
Page 721 Working with the Arranger Triggering Sections or Scenes via MIDI ▪ If playback is off, the playhead jumps to the closest Perform Grid division. If the Perform Grid is set to (i.e. disabled), the playhead jumps to the exact position you have clicked. If the Perform Grid is set to Quick, the playhead jumps to the beginning of the bar you have clicked in.
Page 722 Working with the Arranger Triggering Sections or Scenes via MIDI Program Change numbers: Some host applications send Program Change numbers in the range [03 127] instead of [13128]. In that case, the PC number 0 will trigger Section/Scene slot 1, PC 1 will trigger Section/Scene slot 2, etc.
Page 723 Working with the Arranger The Arrange Grid In the Channel submenu, select the MIDI channel the Scenes or Sections should receive MIDI messages from. 16.6 The Arrange Grid The Arrange Grid is used to quantize all modifications related to the timeline. The value set here is used for following features: ▪...
Page 724 Working with the Arranger Quick Grid Click the current Arrange Grid value to open the drop-down menu. Select a new value for the Arrange Grid. ² The selected Arrange Grid value is applied. On your controller: Press the SHIFT FOLLOW (Grid) button to access the Grid page.
Page 725 Working with the Arranger Quick Grid When the Quick Grid is used, the following rules apply: ▪ The available Pattern lengths are as follows:1 bar, 2 bars, 4 bars, 8 bars, 12 bars, 16 bars, etc. (+ 4 bars each time starting from 4 bars). ▪...
Page 726 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 727 Sampling and Sample Mapping Opening the Sample Editor 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 728 Sampling and Sample Mapping Recording Audio ▪ The ±17.4, Slicing a Slice page allows you to create Slices from your existing Samples: Sample. ▪ The Zone page allows you to assign your Samples to particular note and velocity ranges (called Zones) in your Sound and to adjust various playback settings for each Zone individ- ±17.5, Mapping Samples to ually: Zones.
Page 729 Sampling and Sample Mapping Recording Audio The Record page in the software. 17.2.2 Selecting the Source and the Recording Mode At the bottom of the Record page, the parameters in the INPUT section and the RECORDING section allow you to select which source should be recorded and how the recording should be made.
Page 730 Sampling and Sample Mapping Recording Audio ▪ To record external audio signals connected to your audio interface, select Ext. Ster. (for stereo signals) or Ext. Mono (for mono signals). ▪ To record audio signals coming from MASCHINE itself, select Internal. ►...
Page 731 Sampling and Sample Mapping Recording Audio Any input level reaching the slider position will start the recording. Double-click the slider to reset the threshold to its default value (-12 dB). ▪ Sync: Select Sync to start recording audio in time with the Pattern Grid. If the focused Sound Slot contains neither an Audio nor Sampler plug-in, then the recorded Sample will be loaded automatically into a Sampler plug-in as the first Take.
Page 732 Sampling and Sample Mapping Recording Audio ◦ Pattern: Select this Target to record in a similar way to the Sound Target described above, except that each new recording will also be assigned to a new Pattern on its own. This mode can be useful when you want to record different variations of a part and then review the variations easily by playing each Pattern.
Page 733 Sampling and Sample Mapping Recording Audio 17.2.3 Arming, Starting, and Stopping the Recording The Start and Cancel buttons. ► Click Start to arm the recording. After the recording has been armed, its behavior will depend on the recording mode you have selected (via the MODE selector, see section...
Page 734 Sampling and Sample Mapping Recording Audio ◦ Once the recording has started, the audio is recorded for the duration set by the ±17.2.2, Selecting the Source and the Recording Mode LENGTH control (see section above). You can also click Stop beforehand to stop the recording at the next bar, or Cancel to cancel the recording (in that case the recorded audio will not be saved).
Page 735 Sampling and Sample Mapping Recording Audio ▪ If the Audio Plug-in was used in Loop mode, the last recorded Take will automatically play back with the Pattern. Note that any MIDI Events for that Sound in the current Pattern will remain. As a consequence, your recording might directly start to play at the pitch defined by the existing MIDI Events.
Page 736 Sampling and Sample Mapping Recording Audio The waveform display and the information bar displaying a recording. (1) Waveform display Shows the waveform of the recording currently selected in the Audio Pool (5) 4 by default your last recording: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2).
Page 737 Sampling and Sample Mapping Recording Audio Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the recorded Sample under another name and/or to another location on your computer.
Page 738 Sampling and Sample Mapping Recording Audio ▪ 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 Audio Pool to open a context menu with the following commands: Command...
Page 739 Sampling and Sample Mapping Editing a Sample 17.3 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 740 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 741 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 ±17.5.4, its title bar.
Page 742 Sampling and Sample Mapping Editing a Sample Displays the file name and the length of the recorded Sample. Click and hold the little play ±13.2.6, Using the icon on the left to play back the whole Sample on the Cue bus (see section Cue Bus for more information).
Page 743 Sampling and Sample Mapping Editing a Sample 17.3.2 Audio Editing Functions In the Edit page, the Audio Toolbar provides various audio functions. These will be performed on the selected region of the Sample, as defined by the Start parameters of the ±17.3.1, Using the Edit Page LECTION RANGE section (see...
Page 744 Sampling and Sample Mapping Editing a Sample Command Description DC CORRECT This removes the DC offset. DC offset (<Direct Current offset=) is an undesirable constant shift in the signal level that might be introduced by some audio processing units. This offset can notably waste some of the available headroom.
Page 745 Sampling and Sample Mapping Editing a Sample Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.00 to leave the original pitch untouched. FORMANT C Enables/disables the formant correction. Formant correction allows the (Formant Correction) pitch-shifted audio to retain the timbre (or <color=) of the original audio as much as possible.
Page 746 Sampling and Sample Mapping Slicing a Sample Parameter Description LENGTH (Stretch AUTO DTCT is enabled, you can define the length of the target Length, Beat mode audio (in bars). Please note that any change to the SRC BPM value with Auto Detection (see above) will be automatically mirrored by this LENGTH value.
Page 747 Sampling and Sample Mapping Slicing a Sample ±17.4.3, Manually Adjusting Your Sli- If you wish, manually adjust the proposed Slices: ces. Apply the slicing to your Sample and export the Slices 4 whether in place or to another ±17.4.4, Applying the Sound/Group: Slicing.
Page 748 Sampling and Sample Mapping Slicing a Sample The Slice page in the software. 17.4.2 Adjusting the Slicing Settings At the bottom of the Slice page, you can adjust the settings used to define where the various Slices will be created in the Sample. Adjust the slicing settings at the bottom of the Slice page.
Page 749 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 750 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 don9t 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 751 Sampling and Sample Mapping Slicing a Sample You can directly adjust your Slices manually by selecting Manual in the MODE selector, or start ±17.4.2, Adjusting the Slicing Settings from MASCHINE9s proposed Slices as described in section and fine-adjust these Slices manually 4 in that case the MODE selector automatically switches to Manual.
Page 752 Sampling and Sample Mapping Slicing a Sample ▪ Context menu: Right-click (macOS: [Ctrl]-click) anywhere in a Slice to open a context menu with the following commands: Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file.
Page 753 Sampling and Sample Mapping Slicing a Sample click the main part of the bar to reset the zoom and display the entire waveform. Alternatively you can use the scroll wheel of your mouse when hovering the waveform display (1) to zoom in/ out.
Page 754 Sampling and Sample Mapping Slicing a Sample With SLICE REMOVE enabled, you can still prelisten to your individual Slices by pressing the corresponding pads on your controller! 17.4.4 Applying the Slicing Once you are satisfied with the proposed and/or manually adjusted Slices (see section ±17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the original Sample and create these Slices.
Page 755 Sampling and Sample Mapping Slicing a Sample 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 756 Sampling and Sample Mapping Slicing a Sample Selects from three modes controlling the automatic note creation upon Slice export. The mode selected here will be used both when clicking the Apply button (1) and when using the Slice Dragger (2). Following options are available: ▪...
Page 757 Sampling and Sample Mapping Slicing a Sample Dragging an individual Slice to another Sound. Applying a Sliced Sample to a Sound If you drag a Slice to a Group in the Group List (at the left of the Arranger), it will be exported to the first Sound slot of that Group.
Page 758 Sampling and Sample Mapping Mapping Samples to Zones 17.5 Mapping Samples to Zones Mapping Samples is a way to create Sounds with more than one Sample across the MIDI key- board and with different velocities. You can create and adjust Zones that define a key (or pitch) range and a velocity range for each Sample included in the Sound.
Page 759 Sampling and Sample Mapping Mapping Samples to Zones 17.5.2 Zone Page Overview The Zone page provides following elements: Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4). (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.
Page 760 Sampling and Sample Mapping Mapping Samples to Zones (4) Zone List: Shows all Zones in a list. The Zone List can be shown/hidden by clicking the Zone List button (1). Click an entry in the list to set the focus to that Zone. You can also select multiple Zones, move them via drag and drop, and add/delete Zones in the list.
Page 761 Sampling and Sample Mapping Mapping Samples to Zones You can adjust the width of the Zone List by dragging its right border. Adding a New Zone to the Zone List You can add a new Zone to the Zone List in two ways: ►...
Page 762 Sampling and Sample Mapping Mapping Samples to Zones ► Drag a Sample from the Browser9s LIBRARY FILES pane or from your operating system onto the desired entry in the Zone List. Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load Sample…...
Page 763 Sampling and Sample Mapping Mapping Samples to Zones Selecting Multiple Zones in the List You can select several Zones in the list at once using the common methods of your operating system. The basic rules for multiple selection are the following: ▪...
Page 764 Sampling and Sample Mapping Mapping Samples to Zones Right-click ([Ctrl]-click on macOS) any of the selected Zones. A menu opens up. 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 765 Sampling and Sample Mapping Mapping Samples to Zones 17.5.4 Selecting and Editing Zones in the Map View The Map view is visible when the Sample View button (showing a little waveform icon at the right of the Zone tab) is disabled. Disable the Sample View button to see the Map view.
Page 766 Sampling and Sample Mapping Mapping Samples to Zones ▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle9s width) and a velocity range (the rectangle9s height). Any note played within these key and velocity ranges will trigger the Sample of that Zone. ▪...
Page 767 Sampling and Sample Mapping Mapping Samples to Zones Available Actions in the Map You can select and edit Zones with your mouse and your keyboard in the Map. Following ac- tions are available: Mouse/Keyboard Action Command Selection Commands Click a Zone Puts this Zone under focus.
Page 768 Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Double-click a Zone Extends the key and velocity ranges of the Zone so that it fits the key and velocity limits of the neighbor Zones. This can be very useful to quickly fill up any key or velocity gap between Zones.
Page 769 Sampling and Sample Mapping Mapping Samples to Zones 17.5.5 Editing Zones in the Sample View The Sample view is visible when the Sample View button (showing a little waveform icon at the right of the Zone tab) is enabled. Enable the Sample View button to see the Sample view. The Sample view contains following elements: The Sample view of the Zone...
Page 770 Sampling and Sample Mapping Mapping Samples to Zones ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3). ▪ Play range markers (4) and loop markers (5): See below. ▪ Playhead indicator: When the Sample is played back (e.g., by pressing the pad or by click- ing the little play icon in the information bar above the waveform), a playhead indicator (white vertical line) shows you the current play position within the waveform.
Page 771 Sampling and Sample Mapping Mapping Samples to Zones If a loop has been defined in the Sample, it is also indicated on the waveform. You can then adjust the loop by dragging its borders, and move the entire loop by dragging its title bar. Loops can be created and adjusted in the LOOP section of the Zone settings, under the wave-...
Page 772 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 773 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 774 Sampling and Sample Mapping Mapping Samples to Zones 17.5.7 Adding Samples to the Sample Map You can add Samples directly to the Map view of the Zone page. To see the Map view, make sure that the Sample View button is disabled next to the Zone tab at the top of the Sample Editor.
Page 775 Sampling and Sample Mapping Mapping Samples to Zones The placement of the Zones depends on the original Samples9 position in the selection list: The first Sample selected will get the Zone with the lowest key range, the second Sample se- lected will get the Zone just over the previous one, etc.
Page 776 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 777 Appendix: Tips for Playing Live Preparations 18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes 18.1.5 Consider Using a Limiter on Your Master This sounds rather conservative, but if you want to avoid digital distortion caused by an over- load of your audio interface, this is a useful safety measure.
Page 778 Appendix: Tips for Playing Live Basic Techniques 18.2.2 Create Variations of Your Drum Patterns in the Step Sequencer You can easily create interesting drum patterns by adding or removing steps in the step se- quencer. Breaks and build-ups like snare rolls or a double-tempo hi-hat can be created on the ±11.3, Recording Patterns with the Step Sequencer fly.
Page 779 Appendix: Tips for Playing Live Special Tricks 18.3.2 Using Loops to Cycle Through Samples You can use loops to cycle through Samples, creating glitches and stuttering breaks or interest- ing soundscapes. Just enter the ZONE page in Sampling mode on your controller, switch on ACTIVE parameter on the LOOP...
Page 780 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 software from Na- tive Access.
Page 781 19.4 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 you9re encountering an issue that can9t be solved by other users, contact Native Instruments9 Technical Support team via the online support as de- scribed above.
Page 782 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 783 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 784 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 785 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 786 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 787 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 788 Glossary Scene A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in order to create musical ideas. Scenes are created in the Ideas view and then added to Sections in the Song view to create an arrangement. Section Sections are references to a specific Scenes on the Timeline of the Song view and are used to arrange the Scenes into a larger musical structure.
Page 789 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 software9s 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 790 Index Index Numerics 16 Velocities Ableton Link in Pad mode [229] connecting to a network [122] 4-D encoder [122] joining a Link Session Adjusting Plug-in parameters [82] adjusting the volume, swing, tempo and [70] [71] tune Amplitude Envelope (Sampler) [285] Arrange Grid [414] Arranger...
Page 791 Index Audio Engine button [52] [782] definition Audio input [489] [582] Audio interface [777] Base key [230] [94] input and output routing Beat Delay [634] selecting inputs and outputs [94] Bit depth settings [94] exporting audio [221] Audio Plug-in [306] [644] reducing (effect) editor...
Page 792 Index [203] Group [469] Pattern Channel [694] Scene [237] Groove properties Sound [190] [489] [582] Input properties (Audio page) Color a Pattern [531] Macro properties [716] Song view Output properties (Audio page) [493] Compressor [592] [498] Output properties (Aux page) Content selector [54] Channel icon...
Page 793 Index Controlling external MIDI devices using Macro Controls [533] Delay effects [634] Copy/paste Delete [206] Group [438] events/notes (software) Pattern (controller) [472] Group [211] [471] Pattern content (software) Digital distortion [644] [193] Sound Display [41] Count-in [424] Display area [52] [93] length Display brightness...
Page 794 Index [711] Making Sections Unique Dynamics effects [592] Edit page (software) [739] Edit section [41] Effect categories delays [634] [642] distortions [592] dynamics filtering [607] modulation [615] [621] spatial and reverbs Effects [571] [591] applying [571] [582] applying to external audio [634] Beat Delay [615]...
Page 795 Index [595] ERASE button [45] Gate [636] Event Grain Delay [638] Grain Stretch [784] definition [621] Events [784] insert effect cut/copy/paste (controller) [442] [600] Limiter cut/copy/paste (software) [440] [571] loading [62] definition Lofi [644] [438] deleting (software) [578] manipulating editing with the mouse [429] [604] Maximizer...
Page 796 Index [474] from Patterns External audio [489] [582] Gate [595] External Plug-ins [293] Gate mode [314] Grain Delay [636] Grain Stretch [638] Favorites [154] Groove [237] [154] Groove properties [237] [154] Remove [784] definition [154] Show Group Favorites button [41] applying effects to [571] File type...
Page 797 Index [202] naming [493] Output properties (Audio page) Header [50] [498] Output properties (Aux page) [52] Audio Engine button pasting [206] [51] Browser button [204] saving [52] CPU meter [212] saving with Samples definition [785] [585] set up as send effect [52] Display area soloing...
Page 798 Index [621] [230] Ideas view KEYBOARD button [48] [230] [62] [784] Keyboard mode definition Groups [56] [672] activating [230] Pattern area [56] [672] [230] Scale [56] [672] [230] Scenes using Import Keyboard mode (controller) [230] MIDI to Pattern [478] [439] quick erasing events IMPORT button [174]...
Page 799 Index Latency [95] [776] Macro Control [609] [616] [620] [785] definition Library [124] Macro Controls [531] Macro Controls (controller) importing your own files [173] [532] LIBRARY pane [126] Making Sections Unique [711] LIBRARY tab [53] MASCHINE Library [124] Limiter [600] MASCHINE menu [51] [777]...
Page 800 Index MIDI [23] Move [518] [435] automation events/notes (software) connecting external equipment [118] Group [210] [518] [473] controlling parameters via Pattern [517] [276] disabling MIDI Scene Change Plug-in [517] [691] enabling MIDI Scene Change Scene (software) exporting from Pattern [476] Section (controller) [705] [478]...
Page 801 (software) [440] [467] Pattern [443] quantizing [693] Scene [435] resizing (software) Sound slot [189] [434] selecting (controller) Native Instruments Plug-ins [293] transposing (controller) [438] Native Kontrol Standard [86] [436] transposing (software) Navigate [83] NOTES button [43] [83] Pattern Editor...
Page 802 Index Pattern [405] [446] adding variation Pad Input Mode buttons [48] adjusting length (controller) [416] Pad input modes [48] [415] adjusting length (software) PAD MODE button [48] [469] color Pad mode options [472] copying and pasting (controller) [229] 16 Velocities creating (controller) [464] [229]...
Page 803 Index [471] Pattern Manager [459] paste content (software) [442] Pattern mode [460] paste events/notes (controller) [440] paste events/notes (software) Pattern Variation pasting (controller) [472] [447] accessing mode [443] quantizing events/notes Humanize mode [446] [421] recording in Control mode (controller) Random mode [446] [426] recording in Step mode (controller)
Page 804 [102] Library page MIDI page [96] Plug-ins page [110] Prehear [151] [152] [787] definition Pre-listening Samples [151] [152] Preset External Plug-ins [302] Native Instruments Plug-ins [302] [277] saving Plug-in presets [302] using VST/AU presets MASCHINE MIKRO - Manual - 804...
Page 805 Index Result list [167] [170] in FILES pane Rear panel [49] in LIBRARY pane [128] [145] REC button [45] Retrigger Scenes [678] Record Retrigger Sections [678] Count-in [424] Reverb [625] [421] Overdub mode Reverberation effects [621] [422] Replace mode REX files Record page (software) [728] [222]...
Page 806 Index [204] Group [212] Group with Samples Sample [277] Plug-in preset [787] definition Project with Samples [214] [212] exporting with Group [191] Sound [214] exporting with Project Scale importing into Library [173] in Keyboard mode [230] [175] missing Scales [151] [152] pre-listening [250] 5-Tone...
Page 807 Index [689] [690] [698] duplicating (controller) creating (software) [677] [63] [788] jumping to another definition [693] [710] naming duplicating (controller) reordering (software) [691] duplicating (software) [709] [678] [677] Retrigger jumping to another [687] [705] selecting (controller) moving (controller) [686] [712] selecting (software) removing (controller) transitions...
Page 808 Index Semitones [57] [673] Groups [438] [57] [674] transposing events/notes by Pattern area Send effect [716] [584] Remove a Pattern [788] Rename a Pattern [715] definition Send MIDI Clock [97] [119] [57] [673] Sections Sequencer [715] Select a Pattern [57] [673] [788] Timeline definition...
Page 809 Index [193] [789] pasting definition [197] Step mode (controller) [426] resetting slot [191] Step sequencer (controller) saving [426] sending MIDI [527] Step Undo/Redo [72] [73] [585] STOP button set up as send effect [45] [233] soloing Strip Mode buttons [43] [179] Sound List Swing...
Page 810 Index [436] events/notes (software) Triggering Scenes via MIDI [517] Tag Filter [54] Troubleshooting [780] [140] using Tube saturation [648] Tags TYPES Filter [128] assigning Types and Sub-Types [163] creating [163] Take Undo/Redo [72] [73] Undo [71] TAP (Metro) button [424] USB socket [49] TAP button...
Page 811 Index Working with Patterns Zone page [714] [758] Song view software MASCHINE MIKRO - Manual - 811...

Native Instruments MASCHINE MIKRO MK3 Manual

Quick Links

Related Manuals for Native Instruments MASCHINE MIKRO MK3

Summary of Contents for Native Instruments MASCHINE MIKRO MK3