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Native Instruments Maschine Mikro MK2 Manual

Native Instruments Maschine Mikro MK2 Manual

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Page 1 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 2.4.5 Pattern Editor ......................62 Basic Concepts ......................64 Important Names and Concepts ....................64 Adjusting the MASCHINE User Interface ..................67 3.2.1 Adjusting the Size of the Interface ................67 3.2.2 Switching between Ideas View and Song View ............68 3.2.3 Showing/Hiding the Browser ..................
Page 6 Table of Contents 3.6.3 Preferences – MIDI Page .................... 105 3.6.4 Preferences – Default Page ..................108 3.6.5 Preferences – Library Page ..................112 3.6.6 Preferences – Plug-ins Page ..................120 3.6.7 Preferences – Hardware Page ..................125 3.6.8 Preferences – Colors Page ..................128 Integrating MASCHINE into a MIDI Setup ..................
Page 7 Table of Contents 4.2.7 Performing a Text Search ................... 161 4.2.8 Loading a File from the Result List ................161 Additional Browsing Tools ......................167 4.3.1 Loading the Selected Files Automatically ..............167 4.3.2 Auditioning Instrument Presets ................. 168 4.3.3 Auditioning Samples ....................
Page 8 Table of Contents 5.1.1 The Sound, Group, and Master Channels ..............202 5.1.2 Similarities and Differences in Handling Sounds and Groups ........203 5.1.3 Selecting Multiple Sounds or Groups ................. 204 Managing Sounds ........................209 5.2.1 Loading Sounds ......................211 5.2.2 Pre-listening to Sounds .....................
Page 9 Table of Contents 5.5.1 Loading REX Files into Sound Slots ................247 5.5.2 Importing MPC Programs to Groups ................248 Playing on the Controller ................... 252 Adjusting the Pads ........................252 6.1.1 The Pad View in the Software ..................252 6.1.2 Choosing a Pad Input Mode ..................
Page 10 Page 4: Modulation ....................328 7.2.5 Page 5: LFO ....................... 330 7.2.6 Page 6: Velocity / Modwheel ..................332 Using Native Instruments and External Plug-ins ................ 333 7.3.1 Opening/Closing Plug-in Windows ................334 7.3.2 Using the VST/AU Plug-in Parameters ............... 337 7.3.3...
Page 11 Table of Contents Using Gate Mode ........................355 Using the Drumsynths ....................357 Drumsynths – General Handling ....................358 9.1.1 Engines: Many Different Drums per Drumsynth ............358 9.1.2 Common Parameter Organization ................358 9.1.3 Shared Parameters ....................361 9.1.4 Various Velocity Responses ..................
Page 12 Table of Contents 9.3.8 Snare – Iron ....................... 396 9.3.9 Snare – Clap ......................398 9.3.10 Snare – Breaker ......................400 The Hi-hats ..........................402 9.4.1 Hi-hat – Silver ......................403 9.4.2 Hi-hat – Circuit ......................405 9.4.3 Hi-hat – Memory ......................407 9.4.4 Hi-hat –...
Page 13 Table of Contents 11 Working with Patterns ....................446 11.1 Pattern Basics ..........................446 11.1.1 Pattern Editor Overview ..................... 447 11.1.2 Navigating the Event Area ..................450 11.1.3 Following the Playback Position in the Pattern ............452 11.1.4 Jumping to Another Playback Position in the Pattern ..........453 11.1.5 Group View and Keyboard View ..................
Page 14 Table of Contents 11.4.8 Quantization While Playing ..................496 11.4.9 Doubling a Pattern ....................497 11.4.10 Adding Variation to Patterns ..................498 11.5 Recording and Editing Modulation ..................... 502 11.5.1 Which Parameters Are Modulatable? ................. 503 11.5.2 Recording Modulation ....................504 11.5.3 Creating and Editing Modulation in the Control Lane ..........
Page 15 Table of Contents 12.1.2 Configuring the Main Output of Sounds and Groups ..........553 12.1.3 Setting Up Auxiliary Outputs for Sounds and Groups ..........558 12.1.4 Configuring the Master and Cue Outputs of MASCHINE ..........562 12.1.5 Mono Audio Inputs ..................... 567 12.1.5.1 Configuring External Inputs for Sounds in Mix View ........568 12.1.5.2 Configuring External Inputs for Sounds in MASCHINE MIKRO ....571 12.2...
Page 16 13.4.4 Custom Panels for Native Instruments Plug-ins ............628 13.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) .... 632 14 Using Effects ......................635 14.1 Applying Effects to a Sound, a Group or the Master ..............635 14.1.1...
Page 17 Table of Contents 15.1.4 Limiter ........................676 15.1.5 Maximizer ........................681 15.2 Filtering Effects .......................... 684 15.2.1 EQ ..........................684 15.2.2 Filter .......................... 687 15.2.3 Cabinet ........................691 15.3 Modulation Effects ........................693 15.3.1 Chorus ........................693 15.3.2 Flanger ........................695 15.3.3 FM ..........................
Page 18 Table of Contents 15.6 Distortion Effects ........................724 15.6.1 Distortion ........................724 15.6.2 Lofi ..........................727 15.6.3 Saturator ........................729 15.7 Perform FX ..........................732 15.7.1 Filter .......................... 733 15.7.2 Flanger ........................735 15.7.3 Burst Echo ......................... 738 15.7.4 Reso Echo ........................740 15.7.5 Ring ...........................
Page 19 Table of Contents 16.2.8 Duplicating Scenes ....................773 16.2.9 Reordering Scenes ..................... 775 16.2.10 Making Scenes Unique ....................776 16.2.11 Appending Scenes to Arrangement ................777 16.2.12 Naming Scenes ......................778 16.2.13 Changing the Color of a Scene .................. 779 16.3 Using Song View .........................
Page 20 Table of Contents 16.3.13.4 Renaming a Pattern in Song View .............801 16.3.13.5 Coloring a Pattern in Song View ..............802 16.3.13.6 Removing a Pattern in Song View ..............802 16.3.13.7 Duplicating a Pattern in Song View ............802 16.3.14 Enabling Auto Length ....................803 16.3.15 Looping ........................
Page 21 Table of Contents 17.4.2 Adjusting the Slicing Settings ................... 851 17.4.3 Live Slicing ........................ 856 17.4.3.1 Live Slicing Using MASCHINE MIKRO ............856 17.4.3.2 Delete All Slices ..................857 17.4.4 Manually Adjusting Your Slices ................. 858 17.4.5 Applying the Slicing ....................863 17.5 Mapping Samples to Zones ......................
Page 22 Table of Contents 18.2.3 Use Note Repeat ......................896 18.2.4 Set Up Your Own Multi-effect Groups and Automate Them ........896 18.3 Special Tricks ..........................897 18.3.1 Changing Pattern Length for Variation ..............897 18.3.2 Load Long Audio Files and Play with the Start Point ..........897 19 Troubleshooting ......................
Page 23: Welcome To Maschine
Controller Editor application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go- ing! —The MASCHINE team at Native Instruments. MASCHINE MIKRO - Manual - 23...
Page 24: Maschine Documentation
EN. We recommend that you follow along with these instructions while the respective ap- plication is running on your computer. Other Online Resources: If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help: ▪...
Page 25: Document Conventions
Help menu or the following location: www.native-instruments.com. Please check the Native Instruments website regularly for up-to-date and localized versions of these documents. Document Conventions This section introduces you to the signage and text highlighting used in this manual. This man- ual uses particular formatting to point out special facts and to warn you of potential issues.
Page 26: New Features In Maschine 2.7.10
Welcome to MASCHINE New Features in MASCHINE 2.7.10 ▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see this formatting applied, you will find the same text on a controller display. ▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see this formatting applied, you will find the same text on the controller.
Page 27: New Features In Maschine 2.7.8
Welcome to MASCHINE New Features in MASCHINE 2.7.8 New Hardware Support ▪ Support for KOMPLETE KONTROL A-Series keyboards. Audio Plug-in Improvements ▪ Added Edit Tab to Audio plug-in: Like the Sampler plug-in, you can now perform destruc- tive audio edits to loops loaded into the Audio plug-in via the new Edit tab. ▪...
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. For more information, refer to ↑8, Using the Audio 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 ignored—only the timing of the programmed notes will be used to gate the playing audio). For more informa- tion refer to ↑8, Using the Audio 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 Using Your Controller 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 (↑2.1, Using Your Controller).
Page 35 Quick Reference Using Your Controller For some of these modes, you need to hold the button to keep the mode active. For example, when you press the PAD MODE button, the displays will show pad-specific control options; when you release it, the controller switches back to Control mode. The buttons that are required to be held are in the middle column of your controller (left of the pads) along with the NOTE REPEAT...
Page 36 Once a mode has been pinned your controller will automatically pin the mode next time it is press- You can unpin any mode by pressing the mode button and CONTROL. Navigating the MASCHINE MIKRO MK2 Controller Display The buttons above and below the display, along with the Control encoder (on the right), have functions relating to what is shown on the display: The control elements around the display.
Page 37: Controlling The Software Views From Your Controller
Quick Reference Using Your Controller ▪ The F1, F2, and buttons above the display allow you to select the tab or button under them (at the top of the display). For example, in the picture above the SOUND tab is se- lected.
Page 38 Quick Reference Using Your Controller Action Shortcut Scroll Pattern right Press pad Zoom in (Arranger) Press pad Zoom out (Arranger) Press pad Pattern View Use Pattern view to navigate the Pattern Editor in the MASCHINE software: Press and hold the VIEW button to enter View mode.
Page 39: Maschine Project Overview
Quick Reference MASCHINE Project Overview MASCHINE Project Overview A MASCHINE Project contains all the information stored with a MASCHINE-produced piece of music. ▪ The Project references all the sound content: the instruments, sounds and samples, and all the effects that you apply to them. ▪...
Page 40 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 (1–16) (2). Each Sound slot can be filled with samples or plug-ins.
Page 41: 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. 2.2.2 Arrangement The MASCHINE Project is about building patterns, and putting those patterns into a loop or a song structure.
Page 42 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 43 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 44: Maschine Hardware Overview
MASCHINE MIKRO Hardware Overview This section quickly describes the areas and control elements on your hardware controller. Overview of the MASCHINE MIKRO MK2 hardware controller. (1) CONTROL section: Use this multi-purpose section to access to all parameters of the mode currently selected on your controller.
Page 45: Control Section
MIDI mode and to access Instance mode: ▪ MIDI mode: In this mode you can use MASCHINE MIKRO MK2 as a MIDI controller. Press SHIFT to access MIDI mode. For more details, please refer to the Controller Editor manual.
Page 46 Quick Reference MASCHINE Hardware Overview ▪ Instance mode: In this mode you can select which instance of the MASCHINE plug-in you want to control from your hardware controller if you have more than one instance open in your Digital Audio Workstation (DAW). Press SHIFT to access Instance mode.
Page 47 Quick Reference MASCHINE Hardware Overview Tempo to control the tempo of your Project. Use the Control encoder to change a parameter value. When a pad or the GROUP button is held Tempo will be replaced by the Tune parameter allowing you to tune individual Sounds or Groups on the fly by rotating the Control knob. (13) GROUP button: When you hold the GROUP button, the top eight pads...
Page 48: Transport Section
Quick Reference MASCHINE Hardware Overview (12) BROWSE button: Press the BROWSE button to access the Browser. Press SHIFT BROWSE to access the Plug-in menu and load a Plug-in (internal or VST/AU plug-in) in the currently selected Plug-in slot. (13) SAMPLING button: Press the SAMPLING button to access the Sample Editor.
Page 49: Pads Section
Quick Reference MASCHINE Hardware Overview (2) Step Backward button: Skip back through the loop range one bar at a time. Press SHIFT Step Backward to skip backwards step by step. (3) Step Forward button: Skip forwards through the loop range one bar at a time. Press SHIFT Step Forward to skip forwards step by step.
Page 50 Quick Reference MASCHINE Hardware Overview Overview of the PADS section. All the following buttons can be pinned: Simply press the desired button + CONTROL to pin/unpin the corresponding mode. See ↑2.1.1, Controller Modes and Mode Pinning for more information. (1) SCENE button: Enters Scene mode in Ideas view or Section mode in Song view. Use Scene mode to access your Scenes and Section mode for arranging your song.
Page 51 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. SHIFT SCENE to quickly toggle between Ideas view and Song view.
Page 52 Quick Reference MASCHINE Hardware Overview (5) DUPLICATE button: Enters Duplicate mode. Use the Duplicate mode to swiftly create anoth- er instance of any Sound, Pattern, Group or Scene. This can be useful for creating variations or trying out something new while preserving the current state of your work. (6) SELECT button: Enters Select mode.
Page 53: 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 54: 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 55 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 56: Browser
Quick Reference MASCHINE Software Overview 2.4.2 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 computer’s hard drives. MASCHINE MIKRO - Manual - 56...
Page 57 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 58: 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 59 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 60 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 into it and display the Group’s content (Sounds, Patterns…) in the Pattern Editor (see ↑2.4.5, Pattern...
Page 61: Control Area
Quick Reference MASCHINE Software Overview 2.4.4 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 62: Pattern Editor
Quick Reference MASCHINE Software Overview 2.4.5 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 63 Quick Reference MASCHINE Software Overview (6) Sound slots: Sounds slots 1–16 of the selected Group are listed here. Click a Sound slot to bring it into focus and display its Plug-ins and Channel properties in the Control area (see ↑2.4.4, Control Area).
Page 64: 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 65 Basic Concepts Important Names and Concepts routing system also allows you to create send effects, multi-effects, and side-chains. For more details on using effects in MASCHINE, refer to chapter ↑14, Using Effects. You will find an exhaustive description of all internal effects included in MASCHINE in chapter ↑15, Effect Reference.
Page 66 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 67: 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 hardware controller, so you can play the Sounds by pressing the pads.
Page 68: 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 69: Showing/Hiding The Browser
Basic Concepts Adjusting the MASCHINE User Interface Switching between Ideas View and Song View using the Controller On your controller: ▪ Press SHIFT SCENE to quickly toggle between Ideas view and Song View. ▪ The software switches between Ideas view and Song View. 3.2.3 Showing/Hiding the Browser Click the Browser button (with the magnifier symbol) in the Header to show and hide the...
Page 70: 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: Click the arrow button on the bottom left of the Pattern Editor to show and hide the Con- ►...
Page 71: 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 72: Adjusting Volume, Swing, And Tempo
Basic Concepts Common Operations ▪ Permanent modes stay active even if you release their button. To deactivate them, you must press their button a second time. This is for example the case with the BROWSE button. But in some situations you might want to release the mode button of a temporary mode with- out leaving that mode, e.g., to free your hand and tweak other controls more easily.
Page 73 Basic Concepts Common Operations Use the Master Volume slider in the Header to adjust the overall volume of MASCHINE. You can also use Mix view to adjust your Sound and Group levels. Mix view gives you quick access to the level and routing settings of all your Sounds, Groups, and the Master. In addition, it provides you with an intuitive interface for adjusting the parameters of all your Plug-ins.
Page 74 Basic Concepts Common Operations Adjusting Volume Press the MAIN button to activate it (the button lights up). Press to select VOLUME. To adjust the overall volume, simply turn the Control encoder. Press and turn the Control encoder to adjust the value in finer increments. To adjust the volume of a particular Group, press and hold the GROUP button, press the...
Page 75 Basic Concepts Common Operations Press to select SWING. Turn the Control encoder to adjust the overall Swing for your Project. To adjust the swing of a particular Group, press and hold the GROUP button, press the pad corresponding to the desired Group (the pad must be lit, here the pad for your drum kit), and turn the Control encoder while holding GROUP.
Page 76 Basic Concepts Common Operations At any time, the display indicates the current value. Adjusting Tune To adjust the overall tempo of your Project: Press the MAIN button to activate it (the button lights up). Press to select TEMPO. To adjust the tune of a particular Group, press and hold the GROUP button, press the pad for your drum kit,...
Page 77: Undo/Redo
Basic Concepts Common Operations 3.3.3 Undo/Redo Undoing and re-doing your last actions can be useful to cancel operations you have performed or to compare two versions before and after a change. You can undo nearly everything you did after loading or creating your Project. Note: If you save your Project, you will no longer be able to undo or redo any actions performed be- fore saving! MASCHINE provides two different undo/redo features, each of them being suited for specific...
Page 78: Focusing On A Group Or A Sound
Basic Concepts Common Operations Take Undo/Redo is an extended undo/redo available while recording that allows you to cancel or re-execute a whole group of actions at once. Take Undo/Redo is the default undo/redo in MASCHINE. In the software use the common key- board shortcuts for the Undo and Redo functions: To cancel your last group of actions, press [Ctrl]+[Z] ([Cmd]+[Z] on macOS).
Page 79 Basic Concepts Common Operations Setting the focus on a Sound or Group is slightly different than selecting it: The focus defines what will be displayed, whereas the selection defines what will be affected by your edits. Note that a focused Sound/Group is always selected. The distinction is of importance because you can select multiple Sounds or Groups to apply your edits to all of them at once! See section ↑5.1.3, Selecting Multiple Sounds or Groups for more on this.
Page 80 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 81 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 82 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 83: Switching Between The Master, Group, And Sound Level
Basic Concepts Common Operations Once the Sound is focused you can use F1–F3 above the display to quickly switch between the Master, the containing Group and the focused Sound! You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3, Selecting Multiple Sounds or Groups for more information.
Page 84: Navigating Channel Properties, Plug-Ins, And Parameter Pages In The Control Area
Basic Concepts Common Operations The selected tab lights up. The name of your Project, of the focused Group or the focused → Sound appears on the display (under the MASTER, GROUP, and SOUND tabs), and the display shows the Plug-in parameters and Channel properties of the Master, the focused Group or the focused Sound, respectively.
Page 85 Basic Concepts Common Operations 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- tor to select that set of Channel properties.
Page 86 Basic Concepts Common Operations If the Plug-in List only shows a “+” sign, it means that there are no Plug-ins loaded in this Sound, Group or the Master. Clicking the “+” sign allows you to load a new Plug-in: see section ↑7.1.3, Loading, Removing, and Replacing a Plug-in for more on this.
Page 87 Basic Concepts Common Operations Adjusting the Parameters In the Parameter area, each parameter includes a control element and a label. Following types of control elements are available: Element Action Knob: Click the knob and drag your mouse vertically to change the parameter value.
Page 88 Basic Concepts Common Operations Depending on what is shown on the display, some of the buttons might be inactive — in that case they are off. The active buttons (i.e. those that would do something if you would press them) are always dimmed or fully lit. To see and edit any parameter of any Channel properties or Plug-in in any Sound, Group, or the Master, do the following: Set the focus on the Sound, Group or the Master containing the desired Channel proper-...
Page 89 Basic Concepts Common Operations While holding NAV, turn the Control encoder or press the dimmed pads to select another set of Channel properties or another Plug-in. Press + Left/Right Arrow button to switch to another Parameter page of the selected Channel properties or Plug-in.
Page 90: Navigating The Software Using The Controller
Basic Concepts Common Operations Turn the Control encoder to change the value of the selected parameter. For continuous parameters, press and turn the Control encoder to change the value in finer increments. 3.3.7 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...
Page 91: Using Two Or More Hardware Controllers
Basic Concepts Common Operations Action Shortcut Zoom in (Arranger) Press pad Zoom out (Arranger) Press pad 3.3.8 Using Two or More Hardware Controllers If two or more MASCHINE controllers of different types are connected to your computer, only one controller can be used to control the MASCHINE software at a time. If you have more than one instance of the MASCHINE software running on your computer, you can control each instance with a different controller.
Page 92 Basic Concepts Common Operations Click the MASCHINE menu and select the controller you want to use. Hardware On the controller you want to use with the MASCHINE software, do the following: ▪ MASCHINE (MK3) controller: Press SHIFT + PLUG-IN, turn the 4-D encoder to select the desired instance, and press the 4-D encoder or Button 4 to load it.
Page 93: Native Kontrol Standard
Basic Concepts Native Kontrol Standard ▪ KOMPLETE KONTROL Keyboard MK1: Press INSTANCE and turn the Control encoder to select the desired instance, and press the Control encoder to load it. ▪ KOMPLETE KONTROL Keyboard MK2: Press INSTANCE and turn the 4-D encoder to se- lect the desired instance, and press the 4-D encoder to load it.
Page 94: Stand-Alone And Plug-In Mode
Basic Concepts Stand-Alone and Plug-in Mode Installing KONTAKT Instruments with NKS Support Third-party developers of KONTAKT instruments provide you with a folder that contains all in- strument files, including presets and samples. Instead of running an installer, this folder needs to be stored on the hard drive.
Page 95: Differences Between Stand-Alone And Plug-In Mode
MIDI interfaces is managed by the host — the MASCHINE plug- in only communicates with the host. Native Instruments’ Online Knowledge Base provides how-tos that will help you route the MASCHINE plug-in to multiple tracks/outputs in the major hosts: ▪...
Page 96: Switching Instances
Basic Concepts Stand-Alone and Plug-in Mode ▪ How to route MASCHINE to multiple outputs in Cubase: http://www.native-instruments.com/knowledge/questions/1707 ▪ How to route MASCHINE to multiple outputs in Pro Tools: http://www.native-instruments.com/knowledge/questions/1709 ▪ How to route MASCHINE to multiple outputs in Logic Pro: http://www.native-instruments.com/knowledge/questions/1711 For all details on the audio and MIDI configuration of your host application, please refer to its docu- mentation.
Page 97: Controlling Various Instances With Different Controllers
Controlling Various Instances with Different Controllers You can use two or more MASCHINE controllers of different types (MASCHINE STUDIO, MA- SCHINE MK3, MASCHINE MK2, MASCHINE MIKRO MK2, MASCHINE, and MASCHINE MIK- RO) simultaneously with different instances of the MASCHINE software (possibly with one in- stance in stand-alone mode).
Page 98: 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 – General Page.
Page 99 Basic Concepts Preferences The Preferences – General page. Setting Description Startup Reload Last Project Click this checkbox to automatically reload the last Project on startup. Recording Audio MASCHINE MIKRO - Manual - 99...
Page 100 Basic Concepts Preferences Setting Description Prefer Project Folder If this checkbox is marked, the Samples you record will be put in a subdirectory of the folder where your Project is saved. If not, your recordings will be saved in the generic Recordings folder in your standard user directory (see section ↑3.6.4, Preferences –...
Page 101 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 102: 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 103 Basic Concepts Preferences Preferences – Audio page. Setting Description Interface Driver Select your audio driver from the drop-down menu. Device Select the available devices if you have more than one audio interface connected. MASCHINE MIKRO - Manual - 103...
Page 104 Basic Concepts Preferences Setting Description Status This confirms whether your audio interface is currently running. 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.
Page 105: Preferences - Midi Page
Basic Concepts Preferences Setting Description Input Click Inputs to display the Routing Inputs. Here you can select which inputs on your audio interface should be used for the four stereo inputs of MASCHINE. Select the inputs of your audio interface on the right column by clicking the fields: you will be presented with a drop-down menu with all the available Inputs.
Page 106 Basic Concepts Preferences The Preferences – MIDI page. MASCHINE MIKRO - Manual - 106...
Page 107 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 108: 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 109 Basic Concepts Preferences The Preferences – Default page. MASCHINE MIKRO - Manual - 109...
Page 110 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 111 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 112: 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 113 Basic Concepts Preferences The Preferences panel – the Library page’s 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 Browser’s Library pane.
Page 114 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 115 Basic Concepts Preferences The Preferences panel – the Library page’s 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 Browser’s Library pane.
Page 116 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 117 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 118 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 119 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 120: 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 121 Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Manager pane. MASCHINE MIKRO - Manual - 121...
Page 122 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 123 Use NI Audio Units checkbox. Check this box to include the Audio Units (AU) versions of your Native Instruments plug-ins in the soft- ware’s Plug-in menus and in the controller’s Plug-in Browser: ▪ If this checkbox is disabled (default setting), the AU versions of your Native Instruments plug-ins are still listed in the list above but they are disabled (checkbox unchecked): These plug-ins won’t appear in the Native Instruments submenu of the Plug-in menus (software)
Page 124 Basic Concepts Preferences The Preferences panel – the Plug-ins page’s Locations pane. Locations pane also contains the following controls: Element Description Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon on the left of an entry to change the path of that plug-in directory. button Click to add plug-in directories.
Page 125: Preferences - Hardware Page
To display the Hardware page, click the Hardware tab on the left of the Preferences panel. ► The settings of connected Native Instruments controllers can be selected and adjusted. → MASCHINE MIKRO - Manual - 125...
Page 126 Basic Concepts Preferences The Preferences panel – Hardware page. MASCHINE MIKRO - Manual - 126...
Page 127 Basic Concepts Preferences Setting Description Controller The Controller menu allows you to select a connected device and modify its settings. You can have two devices simultaneously focused on a MASCHINE instance: a controller from the MASCHINE family and a KOMPLETE KONTROL S- SERIES keyboard.
Page 128: Preferences - Colors Page
Basic Concepts Preferences ▪ Press the Right Arrow button to show the PAD SENSIVITY parameter in the display, and turn the Control encoder to adjust the Sensitivity parameter described above. When you’re done, press SHIFT (MIDI) again to quit the MIDI mode and get back to ►...
Page 129 Basic Concepts Preferences The Preferences panel – Colors page. MASCHINE MIKRO - Manual - 129...
Page 130 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 131: 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 132: 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 133: Syncing Maschine Using Ableton Link
Basic Concepts Syncing MASCHINE using Ableton Link 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 134: Joining And Leaving A Link Session
Basic Concepts Syncing MASCHINE using Ableton Link For more general information on setting up and using Link, please refer to the Link FAQs arti- cle located on the Ableton website: https://help.ableton.com/hc/en-us/articles/209776125-Link-FAQs. 3.8.2 Joining and Leaving a Link Session It is possible to join a Link session at any time by clicking the LINK button.
Page 135 Basic Concepts Syncing MASCHINE using Ableton Link MASCHINE MIKRO - Manual - 135...
Page 136: 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 137: 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 138: Searching And Loading Files From The Library
Browser Searching and Loading Files from the Library Click the desired tab to show the corresponding pane of the Browser. LIBRARY pane is described in section ↑4.2, Searching and Loading Files from the Library, and the FILES tab is described in section ↑4.6, Loading and Importing Files from Your File System.
Page 139 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 140 Browser Searching and Loading Files from the Library (3) Content selector: Click the icon (on the left) to select factory content or the User icon (on the right) to select user content instead. Only the files of the content selected here will be dis- played in the Result list (8).
Page 141 Browser Searching and Loading Files from the Library ▪ For all files, click the EDIT button at the far right of the bar to open the Attribute Editor and modify the tags and properties assigned to the selected file(s). See section ↑4.5, Editing the Files’...
Page 142: Selecting Or Loading A Product And Selecting A Bank From The Browser
Browser Searching and Loading Files from the Library On the display of your controller, the Browser is organized as follows: ▪ When the button (FILTER) is selected, you can narrow your search by using the but- ton, the Left/Right Arrow buttons, and the Control encoder to select the file type, the con- tent type (factory or user files), the product/bank/sub-bank, and the desired Type (and pos- sibly Mode) tags.
Page 143 Browser Searching and Loading Files from the Library The closed Product selector header. Selecting a Product Category Click on the Product selector header to open it. ► The Product selector opens up, showing you all products available in your MASCHINE Li- →...
Page 144 Browser Searching and Loading Files from the Library The opened Product selector. (1) Product selector header: The header shows the selected product—if there is no selection it shows a generic label (All Instruments). Click on the header to close the Product selector. (2) Category/Vendor selector: Allows you to sort the Product list by Category or by Vendor.
Page 145 Browser Searching and Loading Files from the Library 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 146 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 147: 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 148 Browser Searching and Loading Files from the Library 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 — if there is no selection it shows a generic label (All Instruments in the picture above) corre-...
Page 149 Product selector when the factory content is selected in the Content selector — to prevent this, make sure that all your Native Instruments prod- ucts are up to date.
Page 150 Browser Searching and Loading Files from the Library 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 151 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 152: 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 On your controller in Browse mode: Press to select the FILTER page. Press the Left/Right Arrow buttons to select the PRODUCT field.
Page 153: Selecting A File Type
Browser Searching and Loading Files from the Library 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. (1) Project: (.mxprj) (2) Groups: (.mxgrp) (3) Sounds: (.mxsnd) (4) Instrument Plug-in presets: (.mxinst) (5) Effect Plug-in presets: (.mxfx) (6) Samples: (.wav, .aiff)
Page 154: Choosing Between Factory And User Content
Browser Searching and Loading Files from the Library 4.2.5 Choosing Between Factory and User Content The Content selector shows two icons representing the factory content on the left, and the user content on the right: The Content selector. Click the NI icon to search the factory content, or click the User icon to search the user ►...
Page 155 Browser Searching and Loading Files from the Library TYPES and MODES filters for the Massive Threat bank of the MASSIVE Plug-in. Click the desired tags in the tag filter to select them and limit the search to the files ► marked with them.
Page 156 Browser Searching and Loading Files from the Library ▪ You have already selected the Maschine product in the Product selector, and the Maschine 2.0 Library bank of this product (for more information on this, see section ↑4.2.3, Select- ing a Product Category, a Product, a Bank, and a Sub-Bank).
Page 157 Browser Searching and Loading Files from the Library ▪ Now imagine that you have loaded an acoustic shaker Sample and want to find a Sample for another drum instrument, e.g., a tom: You leave the Drums tag selected at the top level of the TYPES filter and directly go to the second level, where you select...
Page 158 Browser Searching and Loading Files from the Library If you don’t select any tag in the TYPES or the MODES filter, the Result list will include all files satisfying any of their tags. Selecting Multiple Tags from the Same Level In both TYPES MODES...
Page 159 Browser Searching and Loading Files from the Library Highlighted triangle next to the Attributes (TYPES and MODES). 4.2.6.1 Selecting Type and Mode Tags on the MASCHINE MIKRO Controller On your controller in Browse mode: Press to select the FILTER page. Press the Left/Right Arrow buttons to select the TYPE field.
Page 160 Browser Searching and Loading Files from the Library Turn the Control encoder to select a Type. Turn the Control encoder at full left to remove any particular selection (i.e. select all Types). If the selected Type contains any Sub-Types, press the Right Arrow button to select the SUB-TYPE field, and turn the Control encoder to select a Sub-Type of the selected Type.
Page 161: Performing A Text Search
Browser Searching and Loading Files from the Library Selecting Tags for Instrument and Effect Presets When browsing Instrument or Effect presets, continue as follows: Press the Right Arrow button to select the MODE field. Turn the Control encoder to select a Mode, if any. Turn the Control encoder at full left to remove any particular selection (i.e.
Page 162 Browser Searching and Loading Files from the Library The Result list showing kicks from the MASCHINE Library. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. The Result list allows you to: ▪...
Page 163 Browser Searching and Loading Files from the Library To select adjacent files in the list, do the following: Hold [Shift] on your computer keyboard and click two files in the Result list to select ► these files and all files in-between. To select distant files in the list, do the following: Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select.
Page 164 Browser Searching and Loading Files from the Library ▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new Zone will be created for that Sample. See section ↑17.5.7, Adding Samples to the Sample for more information.
Page 165 Browser Searching and Loading Files from the Library ◦ If you drop the Effect presets onto a Group in the Group List or onto a Sound in the Sound List, they will be appended to the existing Plug-ins in the Plug-in List of that Group or Sound.
Page 166 Browser Searching and Loading Files from the Library The file is deleted from the MASCHINE Library and from your hard disk. → When browsing factory content, the Delete entry is not available in the context menu. Navigating to the Files in Your Operating System If you want to find out the location of a particular file shown in the Result list, do the follow- ing: Right-click ([Ctrl]-click on macOS) any file shown in the Result list and select Find in Ex-...
Page 167: Additional Browsing Tools
Browser Additional Browsing Tools ▪ The file is loaded in the focused Group, the focused Sound, or the selected Plug-in slot (if it’s an Instrument Plug-in, it will be loaded in the first Plug-in slot of the focused Sound). If you are loading a Project, it will replace the Project currently opened. If the current Project contains unsaved changes, a message appears in the displays asking you if you wish to save them.
Page 168: Auditioning Instrument Presets
Browser Additional Browsing Tools Autoload is not available when browsing Projects. Autoload is not available when browsing Samples with Prehear enabled — see section ↑4.3.3, Audi- tioning Samples. Autoload is not only useful to look for an appropriate Sound, Group, Plug-in preset or Sample, but can also be very inspiring: With a Pattern playing, browse through your Library with Autoload acti- vated and listen to Sounds and Samples you normally would not use in that context.
Page 169 Browser Additional Browsing Tools When Prehear is enabled, you can directly hear Instrument presets as you select them in the Result list of the LIBRARY pane or FILES pane. Drag the Prehear Volume slider next to the Prehear button to adjust the volume of the In- ►...
Page 170: Auditioning Samples
Browser Additional Browsing Tools The Prehear signal is sent to the Cue bus of MASCHINE. For more information on the Cue bus, see section ↑13.2.6, Using the Cue Bus. See also 2 Loading the Selected Files Automatically [➙ 167] 4.3.3 Auditioning Samples When you are browsing Samples, a Prehear button and Prehear Volume slider appear next to the Autoload button.
Page 171: Loading Groups With Patterns
Browser Additional Browsing Tools ▪ The Sample selected in the result list can be triggered from the pad of the focused Sound or from any pad without being loaded into that Sound. ▪ Pressing any other pad triggers its Sound without changing the focus. To set the focus to another Sound you have to press SELECT + its pad or to disable Prehear.
Page 172: Loading Groups With Routing
Browser Additional Browsing Tools Loading Groups with Patterns using the Controller When browsing Groups on your controller: Press PAT) to include or exclude Patterns when Groups are loaded. ► When the option is enabled lit and + PAT label highlighted), Groups are loaded to- →...
Page 173: Using Favorites In The Browser
Browser Using Favorites in the Browser The Information box provides various information on the selected file(s). If the selected files have different characteristics, the corresponding fields in the Information box will read multi. Using Favorites in the Browser Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently used items.
Page 174 Browser Using Favorites in the Browser The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass. To activate the Favorites filter: MASCHINE MIKRO - Manual - 174...
Page 175 Browser Using Favorites in the Browser Click on the Filter Favorites control next to the search field to filter the results by Favor- ites: The Filter Favorites control is now lit and the results list shows all Favorites that match the selected search criteria: Adding an Item to the Favorites List To add an item to the Favorites, follow the instructions below:...
Page 176 Browser Using Favorites in the Browser Click on the Set Favorite icon to add the corresponding item to the Favorites. The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name: → You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set Favorites icon will appear as soon as you place the mouse cursor over the entry.
Page 177 Browser Using Favorites in the Browser Click on the lit Set Favorite icon to remove the corresponding item from the Favorites. The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The next time you select the Favorites filter, the item will not be shown in the results list. Using Favorites with the Controller You can view and add Favorites directly using the controller.
Page 178 Browser Using Favorites in the Browser Turn the encoder to turn Favorites ON. Press to select LIST. The Favorites filter is now activated and the results list shows all Favorites that match the selected search criteria. Adding an Item to the Favorites To add an item to the Favorites using follow the instructions below: Press the BROWSE...
Page 179: Editing The Files' Tags And Properties
Browser Editing the Files’ Tags and Properties Press SHIFT + Control encoder to set the selected preset as a Favorite. Press to select FILTER. Press the Left/Right Arrow button under the display to select page FAVORITES. 10. Turn the encoder to turn Favorites ON. 11.
Page 180: Attribute Editor Basics
Browser Editing the Files’ Tags and Properties 4.5.1 Attribute Editor Basics The Attribute Editor is used in the following situations: ▪ At any time you can edit the tags and properties of user files already in the Library by se- lecting them in the Result list of the LIBRARY pane and clicking the...
Page 181: The Bank Page
Browser Editing the Files’ Tags and Properties ▪ In the LIBRARY pane of the Browser, all pages are available: BANK, TYPES, MODES (In- strument/Effect presets only), and PROPERTIES. ▪ In the FILES pane of the Browser, only the TYPES MODES pages are available.
Page 182: The Types And Modes
Browser Editing the Files’ Tags and Properties BANK page shows you (from top to bottom) the product, bank, and sub-bank(s) of the se- lected file(s). If any of these attributes are not set the corresponding fields read empty…. You cannot modify the attributes shown in the BANK page —...
Page 183 Browser Editing the Files’ Tags and Properties taken into account only if Instrument or Effect presets are imported. The MODES page shows only one column: Displaying Tags ▪ In both TYPES MODES pages, tags assigned to the selected files are marked with a check mark right of their name: ▪...
Page 184 Browser Editing the Files’ Tags and Properties ▪ If another column is available on the right the tag you check is automatically selected and its Sub-Types appear in the next column (if any), allowing you to directly refine your de- scription by checking the desired Sub-Types in this next column.
Page 185: The Properties Page
Browser Editing the Files’ Tags and Properties 4.5.4 The PROPERTIES Page PROPERTIES page is only available when opening the Attribute Editor from the LIBRARY pane. The PROPERTIES page of the Attribute Editor. PROPERTIES page displays three additional attributes of the selected files: ▪...
Page 186: Overview Of The Files Pane
Browser Loading and Importing Files from Your File System 4.6.1 Overview of the FILES Pane FILES pane contains following elements: 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.
Page 187: Using Favorites
Browser Loading and Importing Files from Your File System (3) Location bar: Displays the selected path. The Location bar provides various tools to quickly navigate your file system. See section ↑4.6.3, Using the Location Bar. (4) Recent Locations button: Click this button to see a list of the last visited locations and quick- ly jump any of them.
Page 188: Using The Location Bar
Browser Loading and Importing Files from Your File System Favorites are shortcuts to specific locations in your file system. Click any Favorite in the Favorite bar to jump to that location. ► The selected location is loaded in the Location bar and its content appears in the Result →...
Page 189: Navigating To Recent Locations
Browser Loading and Importing Files from Your File System The Location bar. 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 190: Using The Result List
Browser Loading and Importing Files from Your File System The Recent Location button. 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. ►...
Page 191 Browser Loading and Importing Files from Your File System The Result list of the FILES pane. If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the right to show the remaining items. In front of each file, an icon indicates the type of the file: Icons for various file types.
Page 192 Browser Loading and Importing Files from Your File System Double-click a folder to display its content. ► To return to the previous folder or to select any folder outside the folder currently displayed, use the various tools located above the Result list: ▪...
Page 193: Importing Files To The Maschine Library
Browser Loading and Importing Files from Your File System The context menu in the Result list of the FILES pane (Windows depicted). Following commands are available: Command Description Add to Favorites (folders only) Adds the selected folder to your Favorites. See section ↑4.6.2, Using Favorites for more information.
Page 194 Browser Loading and Importing Files from Your File System For this you will have to import the files into the Library first. Importing files does not mean they will be moved from the directory they currently reside in, they will only be referenced by the Browser.
Page 195: Locating Missing Samples
Browser Locating Missing Samples thermore, the paths of the imported folders are added to the list of user libraries in the User pane of the Library page in the Preferences panel — see section ↑3.6.4, Preferences – Default Page for more information on this. If the folder(s) you are importing contain different types of files (e.g., Samples, Sounds, and Groups), the various imported files will be available by selecting the corresponding types in the File Type selector (see section...
Page 196 Browser Locating Missing Samples The Missing Sample dialog allows you to locate missing Samples. Sounds referencing missing Samples are marked with an exclamation mark. Additionally, their Groups are also marked with an exclamation mark when selected. Missing Sample dialog shows you which Sample cannot be found. Three buttons at the bottom of the dialog let you choose between following actions: ▪...
Page 197: Using Quick Browse
Browser Using Quick Browse The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing. Select Purge Missing Samples from the Sound slot’s context menu to remove the missing Sample(s) from that Sound. Select Find Missing Samples from the Sound slot’s context menu to open the Missing Sample...
Page 198 Browser Using Quick Browse Samples (given that the MASCHINE Library already has several hundreds of kick Samples, this may take a considerable amount of time). With Quick Browse you can restore the query with just one click. Quick Browse is available for Samples, Plug-ins presets (Instruments and Effects), Sounds, Groups.
Page 199 Browser Using Quick Browse ◦ If a Sampler Plug-in is selected, it will recall the search query used for the Sample loaded in that Sampler. If several Samples are loaded in the Sampler, it will recall the search query for the Sample in the selected Zone in the Zone List. ◦...
Page 200 Browser Using Quick Browse If you want to trigger Quick Browse for a Group or a Sound, set the focus to this Group or Sound — see section ↑3.3.4, Focusing on a Group or a Sound. If you want to trigger Quick Browse for a Sample or a Plug-in preset, additionally select the slot of that Plug-in (for a Sample this is the Sampler) —...
Page 201: 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 202: 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 203: Similarities And Differences In Handling Sounds And Groups
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master When the software is in Mix view, Sounds, Groups, and the Master are represented by channel strips in the Mixer. This view provides you with an intuitive control on both the audio and MIDI routings of any Sound, Group, and the Master.
Page 204: Selecting Multiple Sounds Or Groups
Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound slots between other slots containing Sounds), depending on how you prefer to play your Sounds from your pads.
Page 205 Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master ▪ The selection, on the other hand, determines what will be affected by your actions (e.g., adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the Sound List) is implicitly selected —...
Page 206 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 207 Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Selecting Multiple Sounds/Groups in the Software To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the com- mon keyboard shortcuts of your operating system: in the Sound List or the Pad view for Sounds, and in the Group List for Groups.
Page 208 Managing Sounds, Groups, and Your Project Overview of the Sounds, Groups, and Master Press and hold SELECT to enter Select mode. You can also press SELECT CONTROL pin this mode and make it permanent. Press (QUIET) to select Sounds and Groups. You are ready to select more than one Sound or Group.
Page 209: Managing Sounds
Managing Sounds, Groups, and Your Project Managing Sounds MULTI option (F3) switches between single and multiple selection: ▪ When MULTI is disabled off): ◦ Pressing GROUP then the pad of an unselected Group, or pressing the pad of an unse- lected Sound, sets the focus to that Group/Sound and clears the current Group/Sound selection (only the focused Group/Sound is then selected).
Page 210 Managing Sounds, Groups, and Your Project Managing Sounds The Pad view. The Pad view can be shown by activating the Pad View button above the Sound List: The Pad View button. Click the Pad View button to show or hide the Pad view. ►...
Page 211: 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 212: Pre-Listening To Sounds
Managing Sounds, Groups, and Your Project Managing Sounds ▪ Alternatively you can recall the search query that was used to find the Sound currently loaded in the focused Sound slot. See section ↑4.8, Using Quick Browse 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 213: Renaming Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds Press and hold the SELECT button. Check that (QUIET) is enabled — if necessary, press it to enable it. Press the pad containing the desired Sound. The Sound is focused without being triggered. →...
Page 214: 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 215: 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 216 Managing Sounds, Groups, and Your Project Managing Sounds Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view ► and select Save from the context menu: Your modifications are saved to the Sound file. →...
Page 217: 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 218 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 219 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 220: 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). All parameters of the Sound will be copied (including the Pattern content for that Sound →...
Page 221: Resetting Sound Slots
Managing Sounds, Groups, and Your Project Managing Sounds While holding the mouse button, drag your mouse toward the desired location in the Sound List or in the Pad view. As the mouse cursor moves an insertion line appears at the potential places where you can drop the Sound slot(s).
Page 222 Managing Sounds, Groups, and Your Project Managing Sounds You can select multiple Sound slots to reset them all at once! See ↑5.1.3, Selecting Multiple Sounds or Groups for more information. To reset a Sound slot, select it in the Sound List or in the Pad view and press [Del] on ►...
Page 223: Managing Groups
Managing Sounds, Groups, and Your Project Managing Groups Managing Groups This section describes the global editing functions available for Groups. Group Menu Many of the functions described in the following sections are available in the following two context menus: ▪ The context menu of the Groups in the Group List, opened via a right-click ([Ctrl]-click on macOS) on the desired Group: MASCHINE MIKRO - Manual - 223...
Page 224: Creating Groups
Managing Sounds, Groups, and Your Project Managing Groups ▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click ([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor: Both context menus are equivalent: Use either menu as you see fit.
Page 225 Managing Sounds, Groups, and Your Project Managing Groups Creating Groups on the Controller On your controller: Press and hold the GROUP button. ► Existing Groups are indicated by the lit pads 9–16: → ▪ The focused Group is indicated by the fully lit pad. ▪...
Page 226: Loading Groups
Managing Sounds, Groups, and Your Project Managing Groups Automatic Group Bank Management In MASCHINE Group banks are managed automatically, so that you don’t have to create or de- lete them manually. Group are always adjacent in the Group List: you cannot have any gap in the Group List —...
Page 227: 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 Browser. ↑4, Loading Groups on Your Controller On your controller, use the Browser to load Groups: ▪...
Page 228: Changing The Group's Color
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 229: 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 in Preferences > Colors > Group Default. See section ↑3.6.8, Preferences – Colors Page for more information.
Page 230 Managing Sounds, Groups, and Your Project Managing Groups Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the ► top left corner of the Pattern Editor and select Save from the context menu: Your modifications are saved to the Sound file. →...
Page 231: 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 232 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 233 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 234 Managing Sounds, Groups, and Your Project Managing Groups ▪ When you paste a selection of Groups onto an existing Group, the pasted Groups replace that Group and the following Groups. Example: If you paste the Groups A1 and B1 onto the Group E2, the duplicates of A1 and B1 will replace the Groups E2 and F2, respectively (if, say, F2 didn’t exist it is automatically created).
Page 235: Reordering Groups
Managing Sounds, Groups, and Your Project Managing Groups All parameters of the Group (all included Sounds, Group effects, Group’s Channel proper- → ties) will be copied (including its Patterns in the Arranger if you have enabled the +EVENT option). The copied Group will replace the Group previously at that position in the Group List.
Page 236: 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. You can select multiple Groups to delete them all at once! See ↑5.1.3, Selecting Multiple Sounds or Groups...
Page 237: 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 9–16 of the Group ►...
Page 238 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 239: 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 240 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 241: 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 242 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 243 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 244 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 245 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.”...
Page 246 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 247: 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”...
Page 248: 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 249 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 250 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 251 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 252: 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 253 Playing on the Controller Adjusting the Pads When the Pad View button is enabled, the Pad view replaces the Sound List below: The Pad view replaces the Sound List. At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current Group.
Page 254: 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 ↑6.1.4, Using Choke Groups below. Link Configures Pad Link for the selected pad.
Page 255 Playing on the Controller Adjusting the Pads Parameter Description KEYBD (F1) Activates/deactivates Keyboard mode. In this mode your pads play notes of the focused Sound at sixteen different pitches. This is well suited for melodic instruments. See the next paragraph for a detailed description of the Keyboard mode.
Page 256 Playing on the Controller Adjusting the Pads Parameter Description 5/6: BASE KEY Adjusts the base key for the selected pad. See section Adjusting the Base Key for more information. 6/6: FIX VEL Here you can adjust the exact velocity value used in the Fixed Velocity mode (see above).
Page 257: Adjusting The Base Key
Playing on the Controller Adjusting the Pads See also 2 Preferences – MIDI Page [➙ 105] 6.1.3 Adjusting the Base Key In Pad mode, the base key defines the key (or pitch) at which the selected Sound will be played when its pad is pressed. In Keyboard mode, it defines the key played by pad on your controller;...
Page 258: Using Choke Groups
Playing on the Controller Adjusting the Pads Use the Left/Right Arrow buttons to display the 5/6: BASE KEY parameter. Turn the Control encoder to adjust the base key by semitones. In Keyboard mode you can additionally press (OCT-) or (OCT+) to shift the base key by octaves. Release PAD MODE (or press it again if you pinned the mode).
Page 259 Playing on the Controller Adjusting the Pads In the Choke section click the Group value and select the desired group 1–8 from the list or choose None (default setting) to remove the Sound from its current Choke group. In the same Choke section click the Mode...
Page 260: Using Link Groups
Playing on the Controller Adjusting the Pads Hold the PAD MODE button to enter Pad Mode (or press PAD MODE CONTROL to pin it). Use the Left/Right Arrow buttons to display the 1/6: CHOKE GROUP parameter. Turn the Control encoder to select the desired Choke group 1–8 for that pad or choose NONE...
Page 261 Playing on the Controller Adjusting the Pads To assign the selected Sound(s) to a Link group and set its/their Link mode (Master or Slave), do the following: Click the Pad View button above the Sound List in the Pattern Editor to show the Pad view for the focused Group.
Page 262: Adjusting The Key, Choke, And Link Parameters For Multiple Sounds
Playing on the Controller Adjusting the Key, Choke, and Link Parameters for Multiple Sounds To assign the selected pad(s) / Sound slot(s) to a Link group and set its/their Link mode on your controller: Hold the PAD MODE button to enter Pad Mode (or press PAD MODE CONTROL to pin...
Page 263 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 264: Playing Tools
Playing on the Controller Playing Tools Playing Tools On top of the various pad settings described in the previous section (see ↑6.1, Adjusting the Pads), MASCHINE also offers you a series of intuitive playing tools particularly useful when playing live: ▪...
Page 265 Playing on the Controller Playing Tools change this behavior by enabling the Audio Mute button in the Audio page of the Sound’s Out- put properties (see section ↑12.1.2, Configuring the Main Output of Sounds and Groups) as well as in Solo and Mute mode on your controller: Activating the audio mute for Sounds will ensure that not only the events are muted, but any remaining audio as well.
Page 266 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 267 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. Mute and solo work in the same way: The Solo mode on the controller.
Page 268 Playing on the Controller Playing Tools The Mute mode on the controller. Press and hold MUTE to enter Mute mode. You can also pin this mode to make it perma- nent (see section ↑3.3.1, Pinning a Mode on the Controller). Mute Sounds by pressing their pads, and mute Groups of the current Group bank by pressing GROUP...
Page 269: 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 270 Playing on the Controller Playing Tools ▪ At the Master level, the Groove properties affect all Sounds of all Groups. The Master’s swing is added to the groove set for each individual Group and Sound via their own Groove properties. The Groove properties have a single Parameter page: Swing.
Page 271 Playing on the Controller Playing Tools Controls Description Cycle Determines on what musical resolution the groove is applied. This directly affects which events will be shifted. Values are measured in fractions of a whole note. Invert Allows you to invert the groove so that instead of being delayed in the Pattern events will be triggered ahead of time.
Page 272: Level, Tempo, Tune, And Groove Shortcuts On Your Controller
Playing on the Controller Playing Tools 6.3.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller Your controller provides extra shortcuts for various important parameters. Most of these param- eters are already available in the Channel properties of the Sounds, Groups, and Master. The shortcuts detailed here give you an additional quick access to them —...
Page 273 Playing on the Controller Playing Tools To change the output level of a Group, hold the GROUP button, press the pad 9–16 of the desired Group (first navigate to its Group bank via the Left/Right Arrow buttons if necessa- ry), and turn the 4-D encoder while holding GROUP. To change the output level of an individual Sound, hold its pad (or hold SELECT + its pad...
Page 274 Playing on the Controller Playing Tools To change the groove of an individual Sound, hold its pad (or hold SELECT + its pad if pads are in Keyboard mode) and turn the 4-D encoder. In Keyboard mode you can also press SELECT + the pad of the desired Sound, then hold any pad (i.e.
Page 275: Performance Features
Playing on the Controller Performance Features Press and turn the 4-D encoder to adjust the value in finer increments. At the Master level, the shortcut controls the Tempo parameter in the Header. The Tempo parameter in the software’s Header. At the Group and Sound level, the shortcut works only with Sounds containing a Sampler or a Drumsynth Plug-in.
Page 276 Playing on the Controller Performance Features When your pads are in Pad Mode, you can use the Note Repeat engine, Choke groups, and Link groups as in previous MASCHINE versions. The Control Signal Flow—Pads in Keyboard Mode The following diagram illustrates MASCHINE s signal flow between your hits on the pads in Keyboard mode and the resulting sounds: The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode.
Page 277 Playing on the Controller Performance Features ▪ The notes played on your pads are first sent to the Perform features (Scale, Chord, and Arp engines), which send the resulting notes to the Pattern Editor. In other terms, you can re- cord the generated scales, chords or arpeggiated notes into your Patterns.
Page 278: 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”...
Page 279 Playing on the Controller Performance Features Turn the Control encoder to set the root note to D3. Hit a few pads: They trigger the notes from the minor pentatonic scale based on D. Fur- → thermore all your pads were shifted two semitones up so that pad 1 still triggers the root note of the selected scale.
Page 280: Scale And Chord Parameters
Playing on the Controller Performance Features Turn the Control encoder to select SET. The light from the pads on the top row of your controller go off and the pads are disabled. → The other 12 pads trigger various chords. You can switch to another set of 12 chords by selecting the 3/4: CHORD TYPE parameter and turning the Control encoder.
Page 281 Playing on the Controller Performance Features ▪ The output of the Scale and Chord engine is recorded into the Pattern Editor. ▪ The Scale and Chord parameters cannot be modulated nor automated in MASCHINE. ▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g., key switches) on particular keys, these notes will not be triggered by the Scale and Chord engine.
Page 282 Playing on the Controller Performance Features Main Scales Scale Bank Type Degree Formula 1 ♭2 2 ♭3 3 4 ♭5 5 ♭6 6 ♭7 7 Chromatic Main Chrom Major Main Major 1 2 3 4 5 6 7 1 2 ♭3 4 5 ♭6 ♭7 Minor Main Minor...
Page 283 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 284 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 285 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 286 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 287 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 288 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 289 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 290 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 291 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 292 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 293: Creating Arpeggios And Repeated Notes
Playing on the Controller Performance Features Condition Enharmonic Spelling Scale Type is set to Chromatic Keys Scale Type is not set to E♭ A♭ B♭ 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 294 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 295 Playing on the Controller Performance Features While holding NOTE REPEAT, hold any pad. The Sound of the pad is repeatedly triggered at the rate shown at the bottom of the con- troller’s display. Press F1, above the display to select another repetition rate. This is a handy way to add live ornaments to your Pattern! →...
Page 296 Playing on the Controller Performance Features Element Description LOCK (F3) Keeps the Arp feature enabled even when you leave Arp mode. For example, this can be useful to adjust the chord settings, switch to another Pattern, adjust Plug-in parameters, etc., while keeping arpeggios running.
Page 297 Playing on the Controller Performance Features Element Description UNIT Selects from three variations of the original note length defined by RATE parameter: NORMAL plays the original note length (default setting), TRIPLET plays triplets of the original note length (faster, three notes in the duration of two original notes), and DOTTED plays dotted versions of the original note length (slower, two notes in the...
Page 298: Swing On Note Repeat / Arp Output
Playing on the Controller Performance Features Arp mode seamlessly switches to Note Repeat mode as soon as you switch your pads from Keyboard mode to Pad Mode (see above): All current values (including the LOCK state) are retained. 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 299: 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 300 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 - 300...
Page 301 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- tings called Channel properties.
Page 302 ◦ 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 303: 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 304: 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 305 Upon your selection the selected Plug-in sits at the top of the Plug-in List, in the first → Plug-in slot of the Sound (in our example). In addition, some Native Instruments and Ex- ternal Plug-ins will automatically open in a floating window (see section ↑7.3.1, Opening/...
Page 306 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 307 Working with Plug-ins Plug-in Overview To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None ► at the top of the menu. The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards →...
Page 308 Select None to remove the Plug-in currently loaded (see previous paragraph). Native Instruments Lists available Native Instruments’ Instruments (first Plug-in slot submenu of Sounds only) and Effects. For products working both as Instrument and Effect, the Effect Plug-in name is followed by the mention FX.
Page 309 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 — this essential Plug-in will be described in details in section ↑7.2, The Sampler Plug-in.
Page 310 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 311 Working with Plug-ins Plug-in Overview Loading a Plug-in in Place To load a Plug-in into the selected Plug-in slot, do the following: Press SHIFT BROWSE to open the Plug-in Browser and browse the available Plug-ins. Press to select FILTER. If you have selected the first Plug-in slot of a Sound, press the Left/Right Arrow button to select the 1/2: TYPE parameter, turn the Control encoder to select...
Page 312: Adjusting The Plug-In Parameters
Plug-ins, and Parameter Pages in the Control Area. Native Instruments and External Plug-ins only: You can also adjust the Plug-in parameters via the own user interface of the VST/AU plug-in. More on this in ↑7.3, Using Native Instruments and Ex- ternal Plug-ins.
Page 313 Working with Plug-ins Plug-in Overview If you want to bypass a Plug-in of a Sound, click the Group of its parent Group in the Ar- ranger, click the desired Sound slot on the left of the Pattern Editor, and click the SOUND tab in the top left corner of the Control area.
Page 314 Working with Plug-ins Plug-in Overview Press (PLUG-IN) to access the Plug-in slots. To bypass a Plug-in: Hold SHIFT simultaneously, and press the fully lit pad of the desired Plug-in ► slot to bypass it. The pad turns dim lit, the Plug-in is bypassed and does not affect the sound anymore. →...
Page 315: 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- scribed in details in section ↑14.1.3, Using the Side-Chain Input.
Page 316: 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 317: 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 318: 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 presets for third-party instruments/effects! See ↑7.3.4, Using VST/AU Plug-in Presets section for more on this.
Page 319: 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”...
Page 320: The Sampler Plug-In
Working with Plug-ins The Sampler Plug-in Click Remove Default Preset in the menu to remove the default preset. The default plug-in preset is removed and the plug-in will load with its initialized settings → next time it is opened. You can also use the Plug-in Manager in the Preferences panel to gain an overview of your de- fault plug-in presets and also remove them if required.
Page 321 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- log will appear and help you locate the missing Sample(s) again.
Page 322: Voice Settings / Engine
Working with Plug-ins The Sampler Plug-in 7.2.1 Page 1: Voice Settings / Engine Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller. Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software. MASCHINE MIKRO - Manual - 322...
Page 323 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”...
Page 324: Page 2: Pitch / Envelope
Working with Plug-ins The Sampler Plug-in 7.2.2 Page 2: Pitch / Envelope Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE on the controller. Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software. Parameter Description PITCH / GATE...
Page 325 Working with Plug-ins The Sampler Plug-in The Type selector. Type selector allows you to choose from three different types of amplitude envelopes. De- pending on the selected type, the available parameters in the AMPLITUDE ENVELOPE section will differ (see table below): ▪...
Page 326 Working with Plug-ins The Sampler Plug-in ▪ ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require complex dynamic control. Unlike many other hardware devices, the pads on MASCHINE are sensitive not only to being hit, but also to being held —...
Page 327: Fx / Filter
Working with Plug-ins The Sampler Plug-in 7.2.3 Page 3: FX / Filter Sampler parameters – page 3 of 6: FX and FILTER on the controller. Sampler parameters – page 3 of 6: FX and FILTER in the software. This is a small selection of basic effects, not to be mixed up with the collection of Effect Plug- ins covered in depth in chapter ↑15, Effect Reference.
Page 328: Modulation
Working with Plug-ins The Sampler Plug-in FILTER Filter selector in the FILTER section gives you access to a set of different filters. Using the arrows or clicking the type currently displayed, you can choose from different filter type set- tings: Off, LP2, BP2, HP2, and EQ. Each type results in different parameters to the right of it: Filter Modes Description No filter.
Page 329 Working with Plug-ins The Sampler Plug-in Sampler parameters – 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 330: Lfo
Working with Plug-ins The Sampler Plug-in Parameter Modulation Destination Pitch Tune parameter of the PITCH / GATE section on the Pitch / Envelope page (page 2). Cutoff Cutoff parameter of the FILTER section (with filter types LP2, HP2, BP2 only) on the FX / Filter page (page 3).
Page 331 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 332: Velocity / Modwheel
Working with Plug-ins The Sampler Plug-in 7.2.6 Page 6: Velocity / Modwheel Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller. Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software. VELOCITY DESTINATION This section allows you to use the input velocity in order to modulate various parameters.
Page 333: Using Native Instruments And External Plug-Ins
Plug-ins) or any third-party manufacturer (External Plug-ins) and to use them like the MA- SCHINE Internal Plug-ins. As with Internal Plug-ins, the following rules apply for loading Native Instruments and External Plug-ins: ▪ An Instrument Plug-in can be loaded only in the first Plug-in slot of a Sound.
Page 334: Opening/Closing Plug-In Windows
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. 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 335 Working with Plug-ins Using Native Instruments and External Plug-ins MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and FM8). When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little di- agonal arrow appears left of the Parameter pages’...
Page 336 ↑13.4.4, Custom Panels for Native Instruments Plug-ins. ▪ Default view and Additional view: Each Native Instruments Plug-in can provide one or two custom views including reduced sets of controls. The Default view is available for every Na- tive Instruments Plug-in, while the Additional view is available for specific Native Instru- ments Plug-ins only.
Page 337: Using The Vst/Au Plug-In Parameters
Working with Plug-ins Using Native Instruments and External Plug-ins ▪ Edit view: The Edit view shows the full user interface of the original Native Instruments product. You can show/hide the Edit view by clicking the Edit button (showing a pencil...
Page 338: Setting Up Your Own Parameter
7.3.3 Setting Up Your Own Parameter Pages As with any Plug-in, the parameters of a Native Instruments or External Plug-in are organized into pages. Each Plug-in can have any number of pages, each containing 8 knobs, which can be assigned to the parameters of the VST/AU instrument or effect.
Page 339 (not to switches nor selectors) in MASCHINE — this is also true in the MASCHINE software. A parameter of a Native Instruments or External Plug-in can be assigned to one knob only! To begin assigning parameters, do the following: Select the Plug-in for which you want to customize parameter assignments.
Page 340 → 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 341 Working with Plug-ins Using Native Instruments and External Plug-ins (3) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new page. By default, pages are labeled “Page 1,” “Page 2,” etc. You can change page labels by defining sections within your pages via the Section Label fields (2) —...
Page 342 Working with Plug-ins Using Native Instruments and External Plug-ins The parameter slots’ context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Parameter. Ctrl + R / Cmd + R Learn Activates the Learn Mode.
Page 343: 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 344 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 345: 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 346 Working with Plug-ins Using Native Instruments and External Plug-ins ▪ The Plug-in’s first output pair is inserted in the usual Plug-in signal chain: This output pair is fed into the input of the next Plug-in slot (or sent to the channel output if the Plug-in is in the last Plug-in slot).
Page 347: 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 348 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 349 Using the Audio Plug-in Element Description Tune Transpose the tune (range: -36 – +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 350 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 351: 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 352: 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 353: Using Loop Mode
Using the Audio Plug-in Using Loop Mode ▪ The Edit page allows you to apply destructive edits to existing audio: ↑17.3, Editing a Sam- ple. The destructive audio editing features here are the same as those found in the Sample Editor, for more information on using the destructive audio editing features, refer to ↑17.3, Editing a Sample.
Page 354 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 355: 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 356 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 357: 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 358: Drumsynths - General Handling
Using the Drumsynths Drumsynths – General Handling Drumsynths – General Handling This section describes the general use and features of the Drumsynths. Managing Drumsynths Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drum- synths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer to section ↑7.1, Plug-in...
Page 359 Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same parameter organization in the Control area. ▪ Their parameters are grouped into the same three Parameter pages: ◦ The Main page groups the most important parameters for each drum type. Here you can select the engine to be used, the tuning, the decay, etc.
Page 360 Using the Drumsynths Drumsynths – General Handling All Drumsynths share the same global layout in the Plug-in Strip. ▪ In the top part of the panel you can adjust the Tune parameter, select the desired engine, adjust the velocity response, and adjust the Decay parameter (or the Filter...
Page 361: Shared Parameters
Using the Drumsynths Drumsynths – General Handling 9.1.3 Shared Parameters Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune parameter). Shared parameters have the advantage of keeping their position when you switch to another engine in the Drumsynth. This allows you to compare the sound of various engines more easily.
Page 362: 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 363 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 364: Kick - Sub
Using the Drumsynths The Kicks ▪ Bold: ↑9.2.7, Kick – Bold. ▪ Maple: ↑9.2.8, Kick – Maple. ▪ Push: ↑9.2.9, Kick – Push. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Kick and the other Drumsynths, see ↑9.1, Drumsynths –...
Page 365 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 366: 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 367 Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 31.00 to 55.00. The default value is 43.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 368 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 369: Kick - Dusty
Using the Drumsynths The Kicks 9.2.3 Kick – Dusty The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds but can also open up to a thundering warehouse boom. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 370: 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 371 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 372 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 373: Kick - Rasper
Using the Drumsynths The Kicks 9.2.5 Kick – Rasper The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow for a wide range of bass drums. The parameters described below are presented as they appear in the Control area (Arrange view).
Page 374: 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 375 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 376: 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 377 Using the Drumsynths The Kicks Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 378: Kick - Maple
Using the Drumsynths The Kicks 9.2.8 Kick – Maple The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound. It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic instruments and its room parameters make it fit seamlessly into any mix.
Page 379: 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 380 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 381: 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 382 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 383: Snare - Volt
Using the Drumsynths The Snares ▪ Vintage: ↑9.3.6, Snare – Vintage ▪ Chrome: ↑9.3.7, Snare – Chrome ▪ Iron: ↑9.3.8, Snare – Iron ▪ Clap: ↑9.3.9, Snare – Clap For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth.
Page 384 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 385: 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 386 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 387: Snare - Pow
Using the Drumsynths The Snares 9.3.3 Snare – Pow The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a combined snare sound. The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 388: 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 389 Using the Drumsynths The Snares Element Description Tune Adjusts the pitch of the drum played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 390: 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 391 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Page 392: 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 393 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Page 394: 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 395 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 396: 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 397 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a percentage.
Page 398: 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 399 Using the Drumsynths The Snares Element Description Decay Adjusts the duration of the sound’s tail, but also the “spread” between the individual claps, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Room Adjusts the balance between the dry sound — the claps themselves —...
Page 400: Snare - Breaker
Using the Drumsynths The Snares 9.3.10 Snare – Breaker The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mix- es containing heavy bass. The adjustment of the wires spectrum provides a great range of snares.
Page 401 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 402: 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 - 402...
Page 403: 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 404 Using the Drumsynths The Hi-hats Element Description Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage. Available values range from 0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 405: 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 406 Using the Drumsynths The Hi-hats Main Page Element Description MAIN Section Engine Selects the engine used in the Hi-hat Plug-in. If you change this setting, please refer to ↑9.4, The Hi-hats. Tune Adjusts the pitch of the cymbal played by the middle C, measured as a percentage.
Page 407: 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 408 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 409: 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 410 Using the Drumsynths The Hi-hats The parameters described below are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for more information please refer to section ↑13.4, The Plug-in Strip.
Page 411: 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 412: The Toms
Using the Drumsynths The Toms when played, like on a real drum set. By the way you are not limited to two hi-hat sounds — e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To know how to do this, please refer to section ↑6.1.4, Using Choke Groups where Choke groups...
Page 413 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 414: Tom - Tronic
Using the Drumsynths The Toms For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Han- dling. 9.5.1 Tom – Tronic The Tronic engine is the default engine of the Tom. A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator.
Page 415 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 416: 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 417 Using the Drumsynths The Toms Main Page Element Description MAIN Section Engine Selects the engine used in the Tom Plug-in. If you change this setting, please refer to ↑9.5, The Toms. Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents.
Page 418 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 419 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 420: 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 421 Using the Drumsynths The Toms Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tension Adjusts the tension of the drum skin, measured as a percentage, allowing for a longer and bigger pitch bend.
Page 422: 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 423: 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 424 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 425: Percussion - Fractal
Using the Drumsynths The Percussions ▪ Fractal (default): ↑9.6.1, Percussion – Fractal. ▪ Kettle: ↑9.6.2, Percussion – Kettle. ▪ Shaker: ↑9.6.3, Percussion – Shaker. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths –...
Page 426 Using the Drumsynths The Percussions Element Description Decay Adjusts the duration of the sound’s tail, measured as a percentage. Available values range from 0.0 to 100.0 % (default: 50.0 %). Tune Hold When Tune Hold is enabled, the tuning behavior is that of the Fractal tom: the tuning is fixed until the next note is received (see ↑9.5.1, Tom –...
Page 427 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 428: 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 429 Using the Drumsynths The Percussions Element Description Tune Adjusts the pitch of the drum played by the middle C, measured in MIDI note numbers and cents. Available values range from 33.00 to 57.00. The default value is 45.00. For more details see ↑9.1.5, Pitch Range, Tuning, and MIDI Notes.
Page 430: 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 431 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 432 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 433 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 434: The Cymbals
Using the Drumsynths The Cymbals Element Description Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher values will result in a pattern with more swing. Note that Swing alone will result in quite a mechanical feel — for a more human feel it is recommended to add some Twist as well (see below).
Page 435 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 436: Cymbal - Crash
Using the Drumsynths The Cymbals The Cymbal provides following engines: ▪ Crash (default): ↑9.7.1, Cymbal – Crash. ▪ Ride: ↑9.7.2, Cymbal – Ride. For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For general information on the Cymbals and the other Drumsynths, see ↑9.1, Drumsynths –...
Page 437 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 438: 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 439 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 440 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 441: 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 442: Bass Synth - General Handling
Using the Bass Synth Bass Synth – General Handling 10.1 Bass Synth – General Handling This section describes the general use and features of the Bass Synth. Managing the Bass Synth Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and proce- dures.
Page 443 Using the Bass Synth Bass Synth – General Handling ◦ The Main page groups the most important parameters. Here you can adjust the Shape of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation (Mod. Amt.) and envelope Decay amounts, the Drive...
Page 444: Bass Synth Parameters
Using the Bass Synth Bass Synth – General Handling 10.1.2 Bass Synth Parameters Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix view, the parameters are as follows: The parameters described are presented as they appear in the Control area (Arrange view). The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view).
Page 445 Using the Bass Synth Bass Synth – General Handling Element Description Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range: 0.0% – 100%). To increase the amount of modulation applied to the Cutoff, turn the Mod. Amt. knob clockwise by clicking and dragging upwards.
Page 446: 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 447: 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). (1) Group View button: Click this button to switch to Group view.
Page 448 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 449 Working with Patterns Pattern Basics (11) Control Lane: The Control Lane provides a visual overview and editing tools for the modula- tion and the MIDI/host automation of each parameter. See section ↑11.5, Recording and Edit- ing Modulation ↑12.2, Using MIDI Control and Host Automation for more information.
Page 450: Navigating The Event Area
Working with Patterns Pattern Basics 11.1.2 Navigating the Event Area The Event area in the Pattern Editor can be scrolled and zoomed in or out to fit your current needs. Navigating the Pattern Editor Horizontally (Time) A zooming scroll bar is available at the bottom of the Pattern Editor. This tool allows you to both scroll and zoom in/out horizontally in the Event area and the Control Lane on the time axis: The zooming scroll bar at the bottom of the Pattern Editor.
Page 451 Working with Patterns Pattern Basics The Event area and the Control Lane (if visible) always stay in sync on the time axis. See section ↑11.5.3, Creating and Editing Modulation in the Control Lane for more information on the Control Lane. Navigating the Pattern Editor Vertically (Sounds or Pitches) When the Pattern Editor is in Group view, a classic scroll bar is available right of the Pattern Editor.
Page 452: Following The Playback Position In The Pattern
Working with Patterns Pattern Basics Action Shortcut Keyboard mode only: Scroll Pattern up Press pad Scroll Pattern down Press pad You can also use the Left/Right Arrow buttons and the Control encoder to adjust the zoom factor and scroll position on the display. In View mode, pads 13–15 additionally allow you to show/hide (or maximize/minimize) the Browser,...
Page 453: Jumping To Another Playback Position In The Pattern
Working with Patterns Pattern Basics Following the Playback Position on the Controller To follow the playhead position in the Event area during playback: Press NAVIGATE to enter Navigate mode. Press Button 8 (FOLLOW). Both Button 8 and the FOLLOW label light up. The software follows the playback position →...
Page 454 Working with Patterns Pattern Basics The playhead in the timeline shows you the current play position. At any time you can jump to another position in the Pattern: Click anywhere in the timeline of the Event area to move the playhead to that position in ►...
Page 455: Group View And Keyboard View
Working with Patterns Pattern Basics For more information on the Pattern Grid, see section ↑11.1.6, Adjusting the Arrange Grid and the Pattern Length. Example with playback on: Assuming that your Pattern is four bars long and the Pattern Grid resolution is set to one bar, if you click around the mark (4th beat of the 1st bar) in the timeline when the playhead reaches the mark (3rd beat of the 3rd bar), the playhead will...
Page 456 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 457 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 458: Adjusting The Arrange Grid And The Pattern Length
Working with Patterns Pattern Basics 11.1.6 Adjusting the Arrange Grid and the Pattern Length The Arrange Grid defines regularly spaced-out timings notably used in following situations: ▪ Adjusting the Pattern length (see below). ▪ Adjusting the Section lengths. Adjusting the Arrange Grid To adjust the Arrange Grid: To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange ►...
Page 459 Working with Patterns Pattern Basics Adjusting the Pattern Length You can adjust the length of your Patterns to fit your needs. The Pattern Length is measured in bars and beats, and Patterns can be up to 256 bars long. When you create a new empty Pat- tern (see ↑11.7.3, Creating Patterns), the Pattern has the default length as defined in the...
Page 460 Working with Patterns Pattern Basics Adjusting the Arrange Grid and Pattern Length on the Controller On your controller, the length of the selected Pattern, along with the Arrange Grid resolution used to modify this length, can both be adjusted using various methods: via the Pattern mode, the Grid mode, or the Record Prepare mode.
Page 461: Adjusting The Step Grid And The Nudge Grid
Working with Patterns Pattern Basics Adjusting the Grid Using Record Prepare Mode This extra method is very useful if you are about to start a new recording. Indeed, the Record Prepare mode (accessed by pressing the unlit button and holding it) is tightly integrated into the recording workflow of Control mode.
Page 462 Working with Patterns Pattern Basics Regardless of the current Step Grid resolution, the gray lines on the beats (quarter notes) and the black lines on the bars (notes) are always visible in the Event area. Enabling or Disabling the Step Grid To enable or disable the Step Grid, click the Step Grid button (showing a little grid icon) ►...
Page 463 Working with Patterns Pattern Basics ▪ By default, the Nudge Grid resolution is half a step, meaning that events will be nudged by half a step at a time. ▪ If you set the Nudge Grid resolution to a full step, the Nudge Grid will mirror the Step Grid and you can nudge events with the same resolution as when creating or quantizing events.
Page 464 Working with Patterns Pattern Basics Enabling or Disabling the Step Grid To enable or disable the Step Grid: Hold GRID to enter Grid mode. You can also pin Grid mode in order to keep it active when you release GRID (see ↑3.3.1, Pinning a Mode on the Controller).
Page 465 Working with Patterns Pattern Basics Use the Left Arrow button under the display to select the VALUE parameter at the bottom of the display: Select a step size by turning the Control encoder. Adjusting the Nudge Grid To change the Nudge Grid resolution: Hold GRID to enter Grid mode.
Page 466: Recording Patterns In Real Time
Working with Patterns Recording Patterns in Real Time 11.2 Recording Patterns in Real Time This section describes the various ways, features, and aids available on your controller to re- cord Patterns as you play them in real time: ▪ The most common method is called overdub recording. Alternatively you can use replace recording.
Page 467 Working with Patterns Recording Patterns in Real Time Recording a Pattern: press PLAY then REC and hit some pads! Press PLAY to start the sequencer. PLAY button lights up. Press to begin recording. button lights up. Now hit the pads you want to record and listen to what happens. Each hit will create an event in the Pattern Editor, the event length depends on how long you hold the pad.
Page 468 Working with Patterns Recording Patterns in Real Time When you’re done, press again to stop recording the pads. ERASE buttons turn off. The sequencer keeps playing until you press PLAY again. In order to prevent you from erasing events accidentally, in following situations Replace mode is automatically disengaged (ERASE turns off) and the recording continues in Overdub mode:...
Page 469: The Record Prepare Mode
Working with Patterns Recording Patterns in Real Time You can adjust the default Pattern Length in the Defaults page of the Preferences panel. See sec- tion ↑3.6.1, Preferences – General Page for more information. When you get ready to record, you can also use the Record Prepare mode on your controller to quickly create a new Pattern with the desired length and directly start the recording! See sec- tion ↑11.2.2, The Record Prepare Mode...
Page 470: Using The Metronome
Working with Patterns Recording Patterns in Real Time Release REC. The Record mode is engaged (REC is lit) and the Pattern in which you are recording has → the length you have just defined. Press PLAY to start the sequencer (if you haven't al- ready) and play the pads to start recording! See section ↑11.2, Recording Patterns in Real Time...
Page 471: Recording With Count-In
Working with Patterns Recording Patterns in Real Time On the controller: Press SHIFT PLAY to activate or deactivate the metronome. ► Adjusting the Metronome’s Volume and Time Signature On your controller you can adjust the volume and time signature of the metronome in the re- cording settings: Press SHIFT...
Page 472 Working with Patterns Recording Patterns in Real Time You can adjust the metronome’s volume, time signature, and downbeat/upbeat sounds. See section ↑11.2.3, Using the Metronome for more information. If the current Loop Range does not start at the beginning of a bar (i.e. on a downbeat), the count-in phase will start with a downbeat, count the selected duration (1, 2 or 4 bars), and then add the offset between the beginning of the bar in which the beginning of the Loop Range is placed and the actual beginning of the Loop Range:...
Page 473: Quantizing While Recording
Working with Patterns Recording Patterns in Real Time Press SHIFT ERASE to start the Count-in and record in Replace mode (see sec- ► tion ↑11.2.1, Recording Your Patterns Live for more information on the Replace mode). Adjusting the Count-in Duration You can adjust the duration of the Count-in in the recording settings: Press SHIFT...
Page 474: Recording Patterns With The Step Sequencer
Working with Patterns Recording Patterns with the Step Sequencer Press the Right Arrow button repeatedly to select the QUANTIZE MODE parameter at the bottom of the display. Turn the Control encoder to enable (ON) or disable (OFF) Input Quantization. With Input Quantization enabled, as you are recording the pads your notes will be quan- →...
Page 475 Working with Patterns Recording Patterns with the Step Sequencer For more information on the Step Grid, see section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid. This way it’s easy to quickly put some drums together. A typical 4/4 line in Step mode. In Step mode events are created with following settings: ▪...
Page 476 Working with Patterns Recording Patterns with the Step Sequencer Checking Your Sequence The Step mode on the controller displays: the first bar of a four-bar Pattern. The display of your controller provides more information on the sequence: ▪ Individual events are represented by rectangular blocks. These always mirror the steps cur- rently represented by your pads.
Page 477: Editing Events In Step Mode
Working with Patterns Recording Patterns with the Step Sequencer Doubling Your Pattern You can quickly double the content of the Pattern: Press (DOUBLE) to double the content of the Pattern. ► The length of the Pattern is doubled. All events in the original Pattern are duplicated to →...
Page 478: Editing Events
Working with Patterns Editing Events ↑11.4.4, Editing Selected Events/Notes, ↑11.4.5, Deleting Events/Notes, ↑11.4.6, Cut, Copy, and Paste Events/Notes, and ↑11.4.7, Quantizing Events/Notes for more information on the available commands. 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.
Page 479 Working with Patterns Editing Events ▪ Select mode: Provides an exhaustive set of actions for creating, selecting, editing, and de- leting events/notes. ▪ Pencil mode: Provides quick actions for creating, resizing and deleting events/notes. Listed here are all available mouse actions from the Mouse Edit modes. For more details on specific actions, please refer to the other sections in ↑11.4, Editing Events.
Page 480 Working with Patterns Editing Events Action Function Click in Event area’s background Deselect all notes. Editing Selected Notes* (see ↑11.4.4, Editing Selected Events/Notes for details) Drag note horizontally Moves selected notes in time according to the Step Grid. [Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step Grid quantization).
Page 481: 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 482: Selecting Events/Notes
Working with Patterns Editing Events Your controller offers numerous ways to create events — on your controller this is referred to as “recording Patterns.” For details on this please refer to section ↑11.2, Recording Patterns in Real Time ↑11.3, Recording Patterns with the Step Sequencer.
Page 483 Working with Patterns Editing Events 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 484 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). Selecting Events/Notes on the Controller Using your controller you can select particular events from the selected Pattern. This will allow you to edit them without affecting the other events.
Page 485 Working with Patterns Editing Events The Select mode on your controller: selecting events and notes. You can now select notes and events using the pads. Depending on the current pad mode (Pad Mode or Keyboard mode, see ↑6.1.1, The Pad View in the Software), events will be selected differently: ▪...
Page 486: Editing Selected Events/Notes
Working with Patterns Editing Events 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 487 Working with Patterns Editing Events Action Function Drag note vertically Group view: Moves selected notes to another Sound of the Group. Keyboard view: Transposes selected notes. Double-click note Deletes selected notes. Right-click (macOS: [Ctrl]-click) Deletes selected notes. If multiple notes are selected, mouse actions can be performed on any of the selected notes — they will apply to all selected notes.
Page 488 Working with Patterns Editing Events 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 489: Deleting Events/Notes
Working with Patterns Editing Events Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small incre- ments. This can be used to creatively add groove to Patterns — for example, shifting the snare drum so that it is ever so slightly late, or “in the pocket” (something a funk drummer does natural- ly!).
Page 490 Working with Patterns Editing Events Deleting Events/Notes on the Controller Your controller provides you with several tools to delete notes/events from the current Pattern. Quick Erasing Events or Notes The quickest and easiest way to delete events is the following: Press SELECT ERASE...
Page 491 Working with Patterns Editing Events Press SHIFT + pad (CLEAR) to erase the selected events. If nothing is selected, all ► event/notes in the Pattern will be affected. Deleting Events or Notes while Playing If the sequencer is currently playing, you can selectively erase events at the play position: While the Pattern is playing, hold ERASE + the desired pad to progressively delete the...
Page 492: Cut, Copy, And Paste Events/Notes
Working with Patterns Editing Events ▪ The command has the same effect whether your pads are in Pad Mode or in Keyboard mode. 11.4.6 Cut, Copy, and Paste Events/Notes You can also cut, copy and paste selected events to another location in the same Pattern or to a different Pattern and for the same Sound or another one (possibly in another Group).
Page 493 Working with Patterns Editing Events ▪ In any case the first pasted event will be quantized to the current Step Grid, and the fol- lowing pasted events will retain their time offset to this first event. ▪ If you paste the events via the Paste command from the context menu of the Event area’s background: ◦...
Page 494: Quantizing Events/Notes
Working with Patterns Editing Events ◦ If you have changed both the Sound focus and the playhead position (e.g., by clicking in the timeline above the Event area, see section ↑11.1.4, Jumping to Another Play- back Position in the Pattern), events are inserted with the first event starting at the playhead position.
Page 495 Working with Patterns Editing Events ▪ Full quantization: Moves each event directly onto the closest step of the current Step Grid. This allows a perfectly regular rhythm. ▪ Half quantization (50%): Moves each event half way toward the closest step of the current Step Grid.
Page 496: Quantization While Playing
Working with Patterns Editing Events To apply only a small amount of quantization to keep the groove you created after record- ing your pattern, right-click the mouse and select Quantize 50% from the context menu. To undo/redo Quantize use hotkeys: Ctrl+Z/Ctrl+Y (Cmd+Z/Cmd+Y on macOS). Using Quantization on the Controller You can quantize your notes at any time, no matter how you recorded them.
Page 497: Doubling A Pattern
Working with Patterns Editing Events ▪ Record: Input Quantization is applied only when you record the pads. ▪ Play/Rec: Input Quantization is applied both when you play on the pads and when you re- cord them. In Play/Rec mode the quantization applied while playing is slightly different from the quantization applied while recording: When recording, all events are quantized to the closest step —...
Page 498: 11.4.10 Adding Variation To Patterns
Working with Patterns Editing Events Select the desired Pattern by pressing its pad. Press (DBL). The Pattern is doubled. → Keep in mind that doubling a Pattern twice results in a Pattern that is four times as long. 11.4.10 Adding Variation to Patterns Variation provides an abundance of inspiration and even “happy accidents”...
Page 499 Working with Patterns Editing Events After adjusting the parameters press (APPLY) to apply your settings. The displays contain the following parameters depending on whether you are Pad mode or Key- board mode: Element Description HUMAN This mode provides natural rhythmic fluctuations to your programmed sequences based on the values of the parameters of this mode.
Page 500 Working with Patterns Editing Events Random Mode Parameters Element Description PROBABILITY (Keyboard mode) PROBABILITY Set the probability of how often a note is created. At 50% a note may or may not be created at each step. At 100% a note will be created at every step of pattern. Probability can be changed from 10-100% in 10% increments.
Page 501 Working with Patterns Editing Events Element Description STEP Set the amount of time shift per step. The value is applied to all notes and will move them randomly in both plus and minus values according to the overall percentage set here. Time shift can be changed from +/- 0-50% in 5% increments.
Page 502: Recording And Editing Modulation
Working with Patterns Recording and Editing Modulation 11.5 Recording and Editing Modulation One of the really cool features of MASCHINE is the ability to modulate nearly all MASCHINE parameters both on the controller and in the software in a very easy way. In MASCHINE, modulation means the automatic change of MASCHINE parameters from an in- ternal source (e.g., manual changes recorded via Auto-write…).
Page 503: Which Parameters Are Modulatable
Working with Patterns Recording and Editing Modulation Please note that modulation and automation are not mutually exclusive: You can modulate a parameter in MASCHINE and automate it (e.g., from your host) simultaneously! As a result, the parameter value will deviate (according to the recorded modulation) from its moving value defined by the automation.
Page 504: Recording Modulation
Working with Patterns Recording and Editing Modulation ◦ 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. ▪ Channel properties: ◦ Sound’s and Group’s Output properties: the button in the Audio page.
Page 505 Working with Patterns Recording and Editing Modulation ▪ On the outer ring of the knob, the colored section (usually indicating the current parameter value) is replaced by a little segment indicating the modulated value. During playback this little segment follows the movement you have just recorded. The non-modulated value of the parameter is still indicated by the little white segment on the knob itself.
Page 506: Creating And Editing Modulation In The Control Lane
Working with Patterns Recording and Editing Modulation Your modulation gets recorded now. Each encoder movement is stored in your Pattern as → an modulation event. It will be automatically played with your Pattern upon its next cycle. From your controller you can also delete all modulation events for all parameters of the chan- nel: Press SHIFT...
Page 507 Working with Patterns Recording and Editing Modulation The Modulation pane showing the modulation track for the Decay parameter (see on the left). The Modulation pane contains following elements: ▪ The left part shows the Modulator List showing all parameters currently modulated in the focused Sound or Group.
Page 508 Working with Patterns Recording and Editing Modulation As soon as some modulation is recorded for a parameter in a particular Pattern of the Group, the corresponding Modulator and modulation track appear for all Patterns of the Group. The track will be empty for Patterns in which you haven’t recorded any modulation for this parame- ter yet.
Page 509 Working with Patterns Recording and Editing Modulation Mouse Edit Mode Available Mouse Actions (1) Select mode To create modulation points, double-click in the Control Lane — other points on this step will be replaced. To delete a modulation point, right-click it ([Ctrl]-click it on macOS). To edit an existing modulation point, drag it vertically (you can also drag the horizontal segment following the point instead).
Page 510 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 511: 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 To reset the modulation track of a parameter, right-click ([Ctrl]-click on macOS) the de- ►...
Page 512 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 MIDI page of the Sound’s Output properties —...
Page 513: 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 514: 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 515 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 516: Selecting Patterns And Pattern Banks
Working with Patterns Managing Patterns ▪ The fully lit pad indicates the selected Pattern slot. ▪ Dim lit pads indicate Pattern slots containing a Pattern. ▪ Unlit pads represent empty Pattern slots. 11.7.2 Selecting Patterns and Pattern Banks In the topmost row of the Pattern Editor, you can see on the left the name of the Pattern se- lected: The selected Pattern is named Basics.
Page 517 Working with Patterns Managing Patterns Select the desired Pattern by clicking its name in the list on the left or by clicking its cell in the selected pad grid on the right. The selected Pattern is loaded in the Pattern Editor and its events appear in the Event →...
Page 518 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 this Pattern. When a Pattern is selected: → ▪ This Pattern is displayed in the software’s Pattern Editor. You can then modify it both from your controller and in the software.
Page 519: Creating Patterns
Working with Patterns Managing Patterns ▪ This Pattern is referenced for the selected Group in the current Scene. This Pattern repla- ces any previous Pattern selected for the Group in that Scene (see chapter ↑16.3, Using Song View for more on this). If you only want to quickly select another Pattern without using any from the editing commands available, we recommend you to unpin the Pattern mode so you can quickly use the shortcut PAT-...
Page 520 Working with Patterns Managing Patterns Click any empty Pattern slot in the list on the left or click any dark cell in the selected pad grid on the right to create a new empty Pattern there. A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in →...
Page 521: Deleting Patterns
Working with Patterns Managing Patterns 11.7.4 Deleting Patterns To delete a Pattern: Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left.
Page 522: Creating And Deleting Pattern Banks
Working with Patterns Managing Patterns Press the pad corresponding to the Pattern you want to delete. Press (DELETE). The Pattern is deleted. → Alternate Method Press and hold PATTERN to enter Pattern mode. Press SHIFT + Left/Right Arrow to select the desired Pattern bank. Press ERASE + the pad corresponding to the Pattern you want to delete.
Page 523 Working with Patterns Managing Patterns Click the “+” symbol under the last pad grid on the right to create another Pattern bank. A new empty Pattern bank is created and its pad grid appears in place of the “+” symbol. →...
Page 524 Working with Patterns Managing Patterns If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will be removed as well! Creating a Pattern Bank on Your Controller If the last Pattern bank contains at least one Pattern (even empty), you can create an addition- al Pattern bank after that last bank.
Page 525: Naming Patterns
Working with Patterns Managing Patterns Creating Pattern Banks on the Controller 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: Press and hold PATTERN to enter Pattern mode.
Page 526 Working with Patterns Managing Patterns Renaming Patterns in the Pattern Manager To rename any Pattern even if it is not selected: Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right.
Page 527: Changing The Pattern's Color
Working with Patterns Managing Patterns Renaming Patterns in the Arranger You can also rename a Pattern in the Arranger via any Clip referencing this Pattern: 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.
Page 528: 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 529 Working with Patterns Managing Patterns If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left. Right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad grid and select Duplicate from the context menu: A Pattern copy is inserted right after the original Pattern in the Pattern bank —...
Page 530 Working with Patterns Managing Patterns Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from the slot’s context menu: Select the Group in which you want to paste the Pattern’s content. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern Manager again.
Page 531: Moving Patterns
Working with Patterns Managing Patterns Press (DUPL). A copy of the Pattern is inserted right after the original Pattern in the Pattern bank — all → following Patterns are shifted to the next slot. Copy and Paste a Pattern While the duplicating method described above is the quickest one, you can also copy a Pattern to the Pattern slot of your choice via the DUPLICATE button of your controller:...
Page 532 Working with Patterns Managing Patterns To move Patterns: Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode). If necessary, select the Pattern bank containing the desired Pattern by clicking its pad grid on the right. The selected Pattern bank is surrounded by a white border and its Patterns appear in the list on the left.
Page 533: 11.7.10 Adjusting Pattern Length In Fine Increments
Working with Patterns Managing Patterns 11.7.10 Adjusting Pattern Length in Fine Increments Patten Length can be adjusted in fine increments to create irregular pattern lengths by tempo- rarily pressing the [Shift] button on your computer keyboard or SHIFT on the MASCHINE con- troller while adjusting the Pattern Length.
Page 534 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ▪ The audio file will be named as follows: ◦ Export in Group view: [Group name] - [Pattern name] - [BPM].wav ◦ Export in Keyboard view: [Group name] - [Pattern name] [Sound name] - [BPM].wav To render Patterns to audio files: Select the Pattern you want to export audio from (see section ↑11.7.2, Selecting Patterns...
Page 535: Exporting Midi From Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can now drag the exported audio file to your desktop, into an audio channel of your → host application, or even to another Sound or Group in MASCHINE! If you drop the audio file onto a Group, it will be loaded into the first empty Sound slot of this Group.
Page 536 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns In the top right corner of the Pattern Editor, click and hold the MIDI Dragger icon: As you start dragging the icon the mouse cursor displays the name of the Pattern you are about to export: Drag the icon to your desktop or onto a MIDI channel of your host application.
Page 537: Importing Midi To Patterns
Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Select Export MIDI… in the context menu (the picture below shows the context menu for a Sound). In the Export MIDI dialog that opens, navigate to the desired location on your computer, type a name for the MIDI file and click Save to confirm.
Page 538 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns You can import MIDI files into Groups or into individual Sounds. You can do this via three methods: via the context menu of the Group/Sound, via drag-and-drop, or via the FILES pane of the Browser.
Page 539 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns In the Group List (left of the Arranger), click the Group in which you want to import the MIDI file. This sets the focus to that Group and displays its Patterns in the Pattern Editor under- neath.
Page 540 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns ◦ The MIDI note data will be allocated to the various Sounds in your Group according to Root Note parameter in the MIDI page of the Group’s Input properties — see sec- tion ↑12.2.1, Triggering Sounds via MIDI Notes.
Page 541 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns In the Group List (left of the Arranger), click the Group containing the Sound for which you want to import the MIDI file. This sets the focus to that Group and displays its Sounds and Patterns in the Pattern Edi- tor underneath.
Page 542 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor). The MIDI file will be imported to the selected Pattern for that Sound according to the im- →...
Page 543 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 544 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Select multiple MIDI files in your operating system or in the FILES pane of the Browser. Drag and drop the multiple selection onto the desired Group in the Group List. New Patterns will be created for that Group. Apart from this, each new Pattern receiving →...
Page 545 Working with Patterns Importing/Exporting Audio and MIDI to/from Patterns Drag and drop the multiple selection onto the desired Sound in the Sound List. New Patterns will be created for that Sound in the Group, each new Pattern receiving the → data from one of the MIDI files.
Page 546: Audio Routing, Remote Control, And Macro Controls
Audio Routing, Remote Control, and Macro Controls Audio Routing, Remote Control, and Macro Controls This chapter describes a few important topics and features of MASCHINE’s routing and assign- ment system. Understanding these will be of great help in numerous MASCHINE workflows: ▪...
Page 547: 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 548: 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 549 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Audio page of the Input properties is available for Sounds only. MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the features of the Input Module available in previous MASCHINE versions. The Audio page of the Input properties for a Sound in the software.
Page 550 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Source Selects an external audio input to be routed to the Sound. Available entries are None (no external input) and the four external stereo inputs Ext. 1–4, as well as any additional output(s) of multiple- output Plug-ins loaded in other Sounds of the same Group.
Page 551 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer: Check that the button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip.
Page 552 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. This is equivalent to setting the Source parameter described above.
Page 553: Configuring The Main Output Of Sounds And Groups
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 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. Similarly, by default the outputs of all Groups are sent to the Master, where they are mixed together and processed by the Plug-ins loaded in the Master, if any.
Page 554 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Please refer to section ↑3.3.6, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Audio page of the Output properties in the software and from your controller.
Page 555 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description Defines the pan position of the channel in the stereo field. Audio Mute (Sounds If you enable Audio Mute, muting this Sound will not only bypass only) its events but also mute its audio output, thereby muting any audio tails from notes already played.
Page 556 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 557 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 558: Setting Up Auxiliary Outputs For Sounds And Groups
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE To select another destination for the channel’s output, click the first area under the level meter, and select the desired destination in the menu. This is equivalent to setting the Dest.
Page 559 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE The Aux page of the Output properties (here for a Group) in the software. The AUX page of the Output properties (here for a Group) on the controller. Please refer to section ↑3.3.6, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the...
Page 560 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Dest. selectors of the AUX 1 AUX 2 section will correspond to virtual outputs in your host. This allows you to send auxiliary outputs of individual Sounds or Groups from MASCHINE to their own mixer channels within your DAW, for example.
Page 561 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Navigate to the channel of which you want to configure an auxiliary output: for a Sound click the header of its parent Group (or double-click it if the Mixer currently displays the Group channel strips), and for a Group simply ensure that its channel strip is visible (dou- ble-click the Group header if the Mixer currently displays the Sound channel strips).
Page 562: Configuring The Master And Cue Outputs Of Maschine
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1.4 Configuring the Master and Cue Outputs of MASCHINE All channels routed to the Master are mixed together and processed by the Plug-ins loaded in the Master, if any. The result is then sent to the Master output (that is, MASCHINE’s main out- put).
Page 563 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Controls Description AUDIO Section Output Selects where you want to send the master output of your MASCHINE Project. Available options are the 16 external stereo outputs Ext. 1–16. Level Adjusts the overall volume level of the master output.
Page 564 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: Click the background of the last header in the top right corner of the Mixer.
Page 565 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE To adjust the level and panoramic position of the main output, use the channel’s fader and balance control (above the fader), respectively. This is equivalent to setting the Level parameters in the MAIN section, respectively...
Page 566 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Click the headphone icon in the strip’s header to show the controls for the Cue channel. To adjust the level and panoramic position of the Cue output, use the channel’s fader and balance control (above the fader), respectively.
Page 567: Mono Audio Inputs
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1.5 Mono Audio Inputs Each Sound can be configured to receive external stereo or mono audio signals. You may use audio signals from outside MASCHINE (from your audio interface if MASCHINE is used in stand-alone mode, or from your host if MASCHINE is used in plug-in mode).
Page 568: 12.1.5.1 Configuring External Inputs For Sounds In Mix View
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1.5.1 Configuring External Inputs for Sounds in Mix View You can also easily send stereo or mono external audio to Sounds in MASCHINE’s Mixer: Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix view: Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the Mixer:...
Page 569 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE Check that the button is active on the left of the Mixer — if not, click it to enable it and display the input/output settings of each channel strip. If the Mixer currently displays the Group channels, in the top row of the Mixer double- click the header of the Group containing the Sound you want to configure.
Page 570 Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE At the top of the channel strip of the Sound you want to configure, click the first field under the Sound name and select the desired external input in the menu. Turn the little knob on its left to adjust the input gain.
Page 571: 12.1.5.2 Configuring External Inputs For Sounds In Maschine Mikro
Audio Routing, Remote Control, and Macro Controls Audio Routing in MASCHINE 12.1.5.2 Configuring External Inputs for Sounds in MASCHINE MIKRO All input channels, including Individual mono channels can be found at the bottom of the input selection drop-down menus. The metering of mono inputs is shown as dual-mono. To configure an external input for a Sound: Select the Group and Sound for external sound source input.
Page 572: Triggering Sounds Via Midi Notes
Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ By default, all MIDI data incoming on the enabled MIDI input port(s) will be received by the focused Sound of the focused Group. See ↑3.6.3, Preferences – MIDI Page to find in- formation on how to enable/disable MIDI input ports in MASCHINE.
Page 573 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 Plug-ins. See section ↑12.2.4, Selecting VST/AU Plug-in Presets via MIDI Program...
Page 574 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation ▪ MIDI automation (i.e. controlling MASCHINE parameters via MIDI) is not affected by the settings described here. For more information on MIDI automation, please refer to section ↑12.2.3, Controlling Parameters via MIDI and Host Automation.
Page 575 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 576 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 577 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 578 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 — 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 579: 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 580: 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 581 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 582 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: Automation tab lights up and the Automation pane appears on its right. You are now →...
Page 583 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 584 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 585 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 586 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The previous automation ID is removed from the Assignment field and the parameter is → not available anymore for host automation. For more information on how to automate VST/AU plug-in parameters from your host, please refer to your host documentation.
Page 587 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. The Assignment field automatically displays the MIDI message type received (CC number, →...
Page 588: 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 589: 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 MASCHINE’s sequencer. With its MIDI output enabled, a Sound will send: ▪...
Page 590 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation The MIDI page of the Output properties for a Sound on the controller. Please refer to section ↑3.3.6, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the MIDI...
Page 591 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation Control Description Channel Selects the MIDI channel on which the Sound will send MIDI data. By default Sound slot 1 will send MIDI data on channel 1, Sound slot 2 on channel 2, etc.
Page 592 Audio Routing, Remote Control, and Macro Controls Using MIDI Control and Host Automation 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 593: 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 Click the little field on its right to select a MIDI channel. This is equivalent to the Channel parameter described above. 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 594: Macro Control Overview
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties (here for a Sound) on the controller. Please refer to section ↑3.3.6, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access the Macro properties in the software and from your controller.
Page 595: Assigning Macro Controls Using The Software
Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls Linking the same parameter to more than one Macro Control can be useful in the following example: If a parameter of a Sound is particularly important, you can link it to the same knob in the Macro Controls of that Sound, of its parent Group, and of the Master.
Page 596 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The selected Macro is removed. → Assigning Macro Controls Using the Pages Pane Assigning Macro Controls is done in the Pages pane of the Assignment area when the Macro properties are selected.
Page 597 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 598 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its section(s) — if there are more than one section, the page label will mirror all of them, separat- ed by slashes.
Page 599 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls and if you are editing the Macros of a Group you will see the Sounds subcategory listing all Sounds in that Group, and if you are editing the Macro properties of a Sound you will see the MIDI menu item which upon selection lists all available Control Change messages that can be assigned to a Macro Control.
Page 600 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Macro properties context menu. The context menu contains following items: Menu Item Description Keyboard Shortcuts Rename Rename the Macro. Ctrl + R / Cmd + R Reset Reset the Macro.
Page 601 Audio Routing, Remote Control, and Macro Controls Creating Custom Sets of Parameters with the Macro Controls The Control Area Assignment Pages context menu. The context menu contains the following items: Menu Item Description Keyboard Shortcuts Delete Deletes current Page with all assignments.
Page 602: 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 603: 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. Press SHIFT VIEW to switch between the Arrange view and the Mix view in the MA- ►...
Page 604 Controlling Your Mix Mix View Basics The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom. (1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all Sounds of the focused Group, or all Groups in your Project.
Page 605: The Mixer
Controlling Your Mix The Mixer 13.2 The Mixer Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and routing settings of different channels in one go. The Mixer in the MASCHINE software. The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
Page 606: Displaying Groups Vs. Displaying Sounds
Controlling Your Mix The Mixer ▪ Which of the Sound or Group level is selected for displaying: ↑13.2.1, Displaying Groups vs. Displaying Sounds. ▪ Whether the Mixer is minimized or not, and which sections are enabled for display: ↑13.2.2, Adjusting the Mixer Layout.
Page 607 Controlling Your Mix The Mixer In this mode the desk’s input strips (1) represent all Groups of your Project, while the output strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the headers of all your Groups and of the Master/Cue channel (3).
Page 608: Adjusting The Mixer Layout
Controlling Your Mix The Mixer If the Mixer was displaying Sound strips beforehand, it will display all Group strips in- → stead, and the Group you have double-clicked will be focused. If the Mixer was displaying Group strips beforehand, it will instead display all Sound strips of the Group that you have double-clicked.
Page 609: 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 610: Managing Your Channels In The Mixer
Controlling Your Mix The Mixer ▪ To set the focus to a particular channel (Sound or Group), click the background of its head- er in the top two rows of the Mixer (upper row for Groups and the Master/Cue, lower row for Sounds, if visible) or use the usual commands on your controller (see section ↑3.3.4, Fo- cusing on a Group or a...
Page 611 Controlling Your Mix The Mixer To open the channel’s context menu, right-click ([Ctrl]-click on macOS) the background of ► the channel header: Opening the context menu of a channel automatically sets the focus on that channel. The channel’s context menu provides the exact same entries as in Arrange view. Following management commands are available in the Mixer: Management Command Action...
Page 612: Adjusting Settings In The Channel Strips
Controlling Your Mix The Mixer Management Command Action Copying/pasting channels Open the channel’s context menu and select Copy or Paste. See section ↑5.2.6, Copying and Pasting Sounds ↑5.3.6, Copying and Pasting Groups. Resetting Sound channels Open the Sound channel’s context menu and select Reset. See section ↑5.2.8, Resetting Sound Slots.
Page 613 Controlling Your Mix The Mixer Tip: Use the Parent Channel Strip at the Far Right In both display modes of the Mixer, the rightmost channel strip (the “output” strip of the mix- ing desk) represents the parent channel: ▪ If the Mixer currently shows all Groups, the rightmost strip represents the Master (or Cue) channel.
Page 614 Controlling Your Mix The Mixer A complete channel strip in the Mixer (Sound on the left, Group and Master on the right). (1) Header: Displays the name and index (letter + number) of the Group or number of the Sound. Headers in the Mixer’s top row are for Groups, headers in the second row (Sound level only) are for Sounds.
Page 615 Controlling Your Mix The Mixer ▪ Other management commands: Right-click ([Ctrl]-click on macOS) the header background to open the channel’s context menu (see section ↑13.2.4, Managing Your Channels in the Mixer). (2) Audio input settings (Sound strips only): Allows you to adjust the audio input routing. Visible only if the button is enabled on the left of the Mixer.
Page 616 Controlling Your Mix The Mixer ▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level parameter in the Audio page of the channel’s Output properties (see ↑12.1.2, Configuring the Main Output of Sounds and Groups).
Page 617: Using The Cue Bus
Controlling Your Mix The Mixer Parameter modulation is not indicated in the Mixer. As a consequence, the value of modulated pa- rameters might change even if their control elements stay at a fixed position in the Mixer. For exam- ple, if the fader of a channel strip is fully down but the channel level is being modulated, the chan- nel’s actual level might temporarily exceed the fader position, leading to an audible signal (and visi- ble meter activity!) although the fader is fully down.
Page 618 Controlling Your Mix The Mixer Sending Sound and Group Channels to the Cue Bus In any channel strip, click the little headphones button to send this channel to the Cue ► bus. The headphones button lights on. The channel is not sent to its defined destination any- →...
Page 619: The Plug-In Chain
Controlling Your Mix The Plug-in Chain The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue → channel’s level and panoramic position, along with the destination you want to send the Cue channel to. As destination, choose for example another output pair into which you will have plugged your headphones.
Page 620: The Plug-In Strip
The Plug-in Strip ▪ Right-click (macOS: [Ctrl]-click) a Plug-in name and use the Open…, Save As…, and Save As Default… (Native Instruments and External Plug-ins only) commands to manage your Plug-in presets. See section ↑7.1.9, Saving and Recalling Plug-in Presets ↑7.3.4, Us-...
Page 621 Native Instruments product: ↑13.4.4, Custom Panels for Native Instru- ments Plug-ins. ▪ Native Instruments and External Plug-ins can also be undocked and opened in a floating window: ↑13.4.5, Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only).
Page 622: 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 - 622...
Page 623 The Plug-in Header at the top of the Plug-in panel. The Plug-in Header can contain following elements, from left to right: (1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little arrow icon to open/close the Plug-in interface in an external window. See section ↑13.4.4,...
Page 624: 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 625: 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 for Drumsynths and chapter ↑15, Effect Reference 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 doesn’t move in the panel.
Page 626 Controlling Your Mix The Plug-in Strip Sampler – MAIN Pane The Sampler in the Plug-in Strip. (1) Pane selector: Click MAIN ZONE to show the corresponding pane in the Plug-in. (2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides the same features as the waveform found in the Sample view of the Zone page in the Sample...
Page 627 Controlling Your Mix The Plug-in Strip (4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parame- ters from the Pitch/Envelope page in the Control area. For more details, see section ↑7.2.2, Page 2: Pitch / Envelope.
Page 628: 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 629 Controlling Your Mix The Plug-in Strip ▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of AB- SYNTH 5: MASCHINE MIKRO - Manual - 629...
Page 630 Controlling Your Mix The Plug-in Strip ▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at the top and the Modulation pages underneath): MASCHINE MIKRO - Manual - 630...
Page 631 ▪ GUITAR RIG’s Default view shows a mini Rack with a reduced version of the Global Header at the top: As with all other Plug-ins, the panel for Native Instruments Plug-ins shows the Plug-in Header at the top containing a button for opening the Plug-in in a floating window as well as the name of the current preset and the Quick Browse icon —...
Page 632: 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 633 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 634 Edit view, which shows the full interface of the original Native Instruments product: Closing the Plug-in’s Floating Window To dock a Native Instruments or External Plug-in back into the Plug-in Strip and close its ► dedicated floating window, click the little diagonal arrow in the Plug-in placeholder (Na- tive Instruments Plug-ins) or in the header of the generic Plug-in panel (External Plug-ins) in the Plug-in Strip.
Page 635: 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 636 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 637 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 638 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 639 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 640 Using Effects Applying Effects to a Sound, a Group or the Master If it’s not already open, open the extended view of the Mixer by clicking the down-pointing arrow at the left of the Mixer: Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display the Plug-in List in each channel strip.
Page 641 Using Effects Applying Effects to a Sound, a Group or the Master To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel strips, in the Mixer’s top row double-click the blank space in the header of the Group con- taining the desired Sound, then click the header of the desired Sound in the row below.
Page 642 Using Effects Applying Effects to a Sound, a Group or the Master If you want to apply the effect to the Master (to process the audio of the whole Project), press to select the MASTER tab. If you want to apply the effect to a Group (to process the audio of the whole Group), press to select the GROUP tab and press...
Page 643 10. Turn the Control encoder to set the TYPE INTERNAL for MASCHINE effects, VST/AU effects from Native Instruments, or EXTERNAL for VST/AU effects from third-par- ty manufacturers. 11. If you have selected the first Plug-in slot of a Sound, press the Right Arrow button to se-...
Page 644: Other Operations On Effects
Using Effects Applying Effects to a Sound, a Group or the Master ▪ You can quickly load effects in several Plug-in slots in a row: Instead of leaving the Plug-in Browser at the last step above, hold and turn the Control encoder (or press any dim- med pad) to select another Plug-in slot, then release and you can directly load another effect into this other slot.
Page 645 For detailed information on these topics, please refer to ↑7.1, Plug-in Overview. For more de- tails on the specific operations available for Native Instruments and External Effects, see ↑7.3, Using Native Instruments and External Plug-ins. MASCHINE MIKRO - Manual - 645...
Page 646: Using The Side-Chain Input
+ the lit pad of the selected Effect. You will find more details on Plug-in operation in section ↑7.1, Plug-in Overview. For more de- tails on the specific operations available for Native Instruments and External Effects, see ↑7.3, Using Native Instruments and External Plug-ins.
Page 647 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 648 Using Effects Applying Effects to a Sound, a Group or the Master The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller. Please refer to section ↑3.3.6, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area to know how to access Parameter pages. The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
Page 649: Applying Effects To External Audio
Using Effects Applying Effects to External Audio Parameter Description Filter Activates a filter on the side-chain input. This filter can be useful to select only a specific frequency range of the side-chain signal to control the Plug-in. Center Freq Adjusts the center frequency of the filter. Width Adjusts the bandwidth of the filter.
Page 650 Using Effects Applying Effects to External Audio MASCHINE in Stand-Alone Mode Please make sure that you have connected an external audio signal source to your audio inter- face and that the inputs of the audio interface are activated. To do this: Select the Preferences…...
Page 651 Using Effects Applying Effects to External Audio ↑3.6.2, Preferences – Audio Page for more information on the Audio page of the Preferences panel. 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.
Page 652: Step 2: Set Up A Sound To Receive The External Input
Using Effects Applying Effects to External Audio In this example, we will assume that you routed some audio channels of your host to the first virtual input pair of MASCHINE. 14.2.2 Step 2: Set up a Sound to Receive the External Input We describe here the procedure in Arrange view.
Page 653 Using Effects Applying Effects to External Audio While holding NAV, turn the Control encoder at full left or simply press pad 13 to select the Input properties for that Sound. While holding NAV, press the Left Arrow button to select the AUDIO Parameter page.
Page 654: Step 3: Load An Effect To Process An Input
Using Effects Applying Effects to External Audio 14.2.3 Step 3: Load an Effect to Process an Input Here we describe the procedure in Arrange view. You can also do this in Mix view — see section ↑14.1.1, Adding an Effect. You can now insert an Effect Plug-in into this Sound so that it processes the incoming audio.
Page 655 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 656: Creating A Send Effect
Using Effects Creating a Send Effect 14.3 Creating a Send Effect Sometimes you may want to have a classic send effect, for example a reverb which can be shared by multiple sound sources. To make use of a send effect, you need to: ▪...
Page 657 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 658 Using Effects Creating a Send Effect You could also load an effect preset from the Browser instead of using the Plug-in menu. For more information on how to load effect presets, see ↑4.2, Searching and Loading Files from the Library. Now that the effect is loaded, we suggest that you rename the Sound slot to the Plug-in name: this will be of great help when routing other signals to that send effect (see section ↑14.3.2,...
Page 659 Using Effects Creating a Send Effect Press (PLUG-IN) to show the Plug-in slots of the selected Sound. Since we have selected an empty Sound, while holding you see (NONE) on the dis- play (i.e. there is no Plug-ins to navigate yet). Plug-in slot 1 is automatically selected since it’s the only existing Plug-in slot for now.
Page 660: Step 2: Route Audio To The Send Effect
Using Effects Creating a Send Effect You could also load an effect preset from the Browser instead of using the Plug-in menu. For more information on how to load effect presets, see ↑4.2, Searching and Loading Files from the Library. Now that the effect is loaded, we suggest that you rename the Sound slot to the Plug-in name: this will be of great help when routing other signals to that send effect (see section ↑14.3.2,...
Page 661 Using Effects Creating a Send Effect If you want to route a Group’s output to the send effect, press to select the GROUP tab, if necessary press GROUP + Left/Right Arrow to select the bank containing that Group, and press GROUP + the pad 9–16...
Page 662: A Few Notes On Send Effects
Using Effects Creating a Send Effect number followed by the Sound number (in the example underneath we selected the entry A1:S1-1 for the AUX 1 output). 10. Press the Right Arrow button to select 2/6: LEVEL, and turn the Control encoder to adjust the level of the signal sent through the auxiliary output.
Page 663: 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 664 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 665 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 666: Effect Reference
Effect Reference Effect Reference MASCHINE provides a healthy selection of more than 20 different Effect Plug-ins that can be quickly applied to Sounds, Groups and the Master, all as insert effects. By using MASCHINE’s powerful routing system, it is also easy to setup send effects, build complex effect chains or apply an effect to an external source that is connected to your audio interface, such as an in- strument, vocals or a turntable.
Page 667: 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 668 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 669 Effect Reference Dynamics The Compressor on the controller: MAIN page. 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 670 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 671: Gate
Effect Reference Dynamics ▪ The Threshold Gain faders (corresponding to the Threshold Gain parameters of the Main page in the Control area) provide level meters for visual monitoring of the input and output levels. In particular, by comparing the input level with the position of the Threshold fader, you can easily see you which parts of the signal will be compressed, and adjust the Threshold...
Page 672 Effect Reference Dynamics 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. TIME Section Attack Attack to adjust how fast the Gate reacts to the incoming signal: the more you dial it to the right, the slower it will react, resulting in a softer transition between the gated and the not gated parts of the signal.
Page 673 Effect Reference Dynamics Side-Chain Input Page The Gate in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in. Available options are None (side-chain disabled, default setting), the outputs of all (other) Sounds , and the outputs of all (other) Groups.
Page 674: Transient Master
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 675 Effect Reference Dynamics The Transient Master panel in the Plug-in Strip. The Transient Master in the Control area. Parameter Description DEPTH Section Input Gain Adjusts the level of the input signal. This allows you to offset the overall level once you have set the desired effect, in order to counterbalance the gain or loss of level that might occur.
Page 676: 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 677 Effect Reference Dynamics The Limiter panel in the Plug-in Strip. Main Page The Limiter in the Control area: Main page. MASCHINE MIKRO - Manual - 677...
Page 678 Effect Reference Dynamics Element Description MODE Section Mode Selects from two different limiter types. The available modes are Legacy and Transparent. DEPTH Section (Transparent mode only) Threshold This value determines the threshold where the Limiter kicks in. If you use it to prevent your signal from clipping, leave it at 0 dB; if you want to make your signal louder, dial the Knob to the left.
Page 679 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 - 679...
Page 680 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 681: Maximizer
Effect Reference Dynamics The Limiter on the controller: SIDE-CHAIN INPUT page. Input Level Meter in the Limiter Panel (Plug-in Strip) In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area: Threshold fader (corresponding to the Threshold parameter of the Main...
Page 682 Effect Reference Dynamics Main Page The Maximizer in the Control area: Main page. Parameter Description DEPTH Section Amount This parameter is used to adjust the amount of the Maximizer effect. Turn the knob clockwise to increase the loudness of the signal.
Page 683 Effect Reference Dynamics Side-Chain Input Page The Maximizer 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 684: Filtering Effects
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 685 Effect Reference Filtering Effects The EQ panel in the Plug-in Strip. Freq / Gain Page The EQ in the Control area: Freq / Gain page. Parameter Description LOW Section Freq Frequency selector for the low frequency band. Ranges from 20 Hz to 8 kHz.
Page 686 Effect Reference Filtering Effects Parameter Description HIGH-MID Section Freq Frequency selector for the second mid-frequency band. Ranges from 40 Hz to 16 kHz. Gain This determines how much the selected frequency is increased/ attenuated by. HIGH Section Freq Frequency selector for the high frequency band. Ranges from 50 Hz to 20 kHz.
Page 687: Filter
Effect Reference Filtering Effects 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. The EQ on the controller: WIDTH / OUTPUT page. 15.2.2 Filter Filter with selectable characteristics that can be modulated via LFO or envelope.
Page 688 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 689 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 690 Effect Reference Filtering Effects The Filter on the controller: MAIN page. Side-Chain Input Page The Filter in the Control area: Side-Chain Input page. Parameter Description INPUT Section Source Selects the audio signal you want to use as side-chain signal to control the Plug-in.
Page 691: Cabinet
Effect Reference Filtering Effects 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 692 Effect Reference Filtering Effects The Cabinet Emulation effect in the Plug-in Strip. The Cabinet Emulation in the Control area (Main page depicted). Main Page Element Description CABINET Section Cabinet Selects from four different cabinet types, which includes: ▪ American Cabinet ▪...
Page 693: Modulation Effects
Effect Reference Modulation Effects Element Description Microphone Selects from six different microphone types, which includes: ▪ Dynamic 57 ▪ Dynamic 421 ▪ Dynamic 441 ▪ Ribbon 121 ▪ Condenser 47 ▪ Condenser 67 Distance Adjusts the distance of the microphone from the cabinet. Available values range from 0.0 to 100.0% (default: 0.0%).
Page 694 Effect Reference Modulation Effects The Chorus panel in the Plug-in Strip. The Chorus in the Control area. Parameter Description MOD Section Rate Rate knob defines how fast the phase (and thus the perceived pitch) of the detuned signal is being modulated. Amount The amount of the Chorus effect.
Page 695: Flanger
Effect Reference Modulation Effects The Chorus on the controller. 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 696 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 697 Effect Reference Modulation Effects 15.3.3 FM modulates the frequency of the audio signal based on FM synthesis. High frequency set- tings are useful for adding a subtle “gritty” texture to the input signal. The FM panel in the Plug-in Strip. FM in the Control area.
Page 698: Freq Shifter
Effect Reference Modulation Effects Parameter Description DEPTH Section Contour Contour determines the extent to which the input volume affects the intensity of the effect. Amount Determines the amount of the FM effect. The FM on the controller. 15.3.4 Freq Shifter The Freq Shifter shifts selected frequencies of the audio signal by a user-specified amount.
Page 699 Effect Reference Modulation Effects The Freq Shifter in the Control area. Parameter Description FREQ Section Coarse This is used to define the basic frequency of the Freq Shifter. Fine Fine-tune the frequency here. OUTPUT Section Feedback Adjusts the amount of output signal fed back into the input. Increasing this parameter will increase the intensity of the effect.
Page 700: Phaser
Effect Reference Modulation Effects 15.3.5 Phaser Classic phaser with LFO and envelope modulation. The Phaser panel in the Plug-in Strip. The Phaser in the Control area. Parameter Description MAIN Section Frequency This defines the center frequency of the Phaser. Feedback Adjusts the amount of output signal fed back into the input.
Page 701: Spatial And Reverb Effects
Effect Reference Spatial and Reverb Effects Parameter Description Source Here you can select the modulation source of the Phaser: available options are LFO, LFO Sync, and Envelope. Depending on your selection, the parameter to the right will change. Speed (LFO) Defines the speed of the LFO in a range from 0.03 Hz up to 8 Hz.
Page 702 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”...
Page 703: Metaverb
Effect Reference Spatial and Reverb Effects The Ice on the controller. 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.
Page 704: Reflex
Effect Reference Spatial and Reverb Effects Parameter Description ROOM Section Size Adjust the size of the virtual room here. EQ Section Low band EQ to cut or boost bass frequencies. High High band EQ to cut or boost high frequencies. POSITION Section This pans the dry signal.
Page 705 Effect Reference Spatial and Reverb Effects The Reflex panel in the Plug-in Strip. The Reflex in the Control area. Parameter Description ROOM Section Color At lower settings, the general sound is a bit more muffled; the higher the settings, the brighter it sounds. Smooth With this parameter, you can soften the metallic character of Reflex.
Page 706: Reverb (Legacy)
Effect Reference Spatial and Reverb Effects The Reflex reverb on the controller. 15.4.4 Reverb (Legacy) This reverb is best for most common applications. The Reverb adds room information to the signal, making it sound more spacious and natural. It is particularly suited to drum sounds, but also useful to add a more “natural”...
Page 707 Effect Reference Spatial and Reverb Effects Parameter Description ROOM Section Room This allows you to choose one of four basic characteristics of the Reverb: General, Bright, Guitar, and Shatter. Size Adjust the size of the virtual room here. EQ Section Low band EQ to cut or boost bass frequencies.
Page 708: Reverb
Effect Reference Spatial and Reverb Effects The Reverb on the controller. 15.4.5 Reverb The Reverb effect provides three different modes which are described in this section. The Room Reverb panel in the Plug-in Strip. 15.4.5.1 Reverb Room The Room mode is suited to drum and percussive sounds, and particularly sounds good when used on snares.
Page 709 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 710 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 711: 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 712 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 713 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 714: 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 715: 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 716 Effect Reference Delays The Beat Delay panel in the Plug-in Strip. Main Page The Beat Delay in the Control area: Main page. Parameter Description DELAY Section Time 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 717 Effect Reference Delays Parameter Description Crossover Allows for panning the feedback signal rhythmically in the stereo field. Color Defines the basic frequency of the feedback circuit: lower values result in a deeper sound, whereas higher values brighten the sound. Split Controls the difference in frequency between left and right channel.
Page 718: Grain Delay
Effect Reference Delays Parameter Description UNIT Section Unit Defines the unit used by the Time Offset parameters on the Main page. The Beat Delay on the controller: UNIT page. 15.5.2 Grain Delay By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is useful for creating ambient textures.
Page 719 Effect Reference Delays Main Page The Grain Delay in the Control area: Main page. Parameter Description GRAIN Section Pitch Determines the pitch of the grains: low values result in a deep, slowly repeating grain, high values speed up the grain, making it sound faster and higher.
Page 720 Effect Reference Delays The Grain Delay on the controller: MAIN page. Output Page The Grain Delay in the Control area: Output page. Parameter Description OUTPUT Section Stereo This parameter widens the stereo field of the effect. Values go from 0 % (no stereo) to 100 % (full stereo). The Grain Delay on the controller: OUTPUT page.
Page 721: Grain Stretch
Effect Reference Delays 15.5.3 Grain Stretch The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the in- coming signal. The Grain Stretch panel in the Plug-in Strip. The Grain Stretch in the Control area. Parameter Description MASTER Section Enables the effect.
Page 722: Resochord
Effect Reference Delays Parameter Description PITCH Section Pitch Adjusts the pitch of the grains. Link When on, grain size is corrected by the pitch. Size Adjusts the size of the grains. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal.
Page 723 Effect Reference Delays The Resochord panel in the Plug-in Strip. The Resochord in the Control area. Parameter Description PITCH Section Mode Here you can select between the two modes of the Resochord: Chord and String. In Chord mode, the 6 combs are tuned according to various chords.
Page 724: Distortion Effects
Effect Reference Distortion Effects Parameter Description Tune It allows you to transpose the Resochord in semitones. COLOR Section Brightness This is to determine the basic sound characteristic of the Resochord: higher values will brighten the sound by adding high frequencies. Feedback Adjusts the amount of output signal fed back into the input.
Page 725 Effect Reference Distortion Effects 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. This effect is special be- cause of the feedback it creates.
Page 726 Effect Reference Distortion Effects Parameter Description Tone Mod Modulation introduced in the feedback signal. OUTPUT Section lets you adjust the amount of the effect in relation to the dry original audio signal. GATE Section Gate Gate button is used to cancel out feedback loops introduced by high Feedback settings.
Page 727: Lofi
Effect Reference Distortion Effects Element Description Definition Determines how pronounced the distortion effect is. Available values range from 0.0 to 100.0% (default: 50.0%). OUTPUT Section Mix lets you adjust the amount of the effect in relation to the dry original audio signal. Available values range from 0.0 to 100.0% (default: 100.0%).
Page 728 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 729: Saturator
Effect Reference Distortion Effects 15.6.3 Saturator The Saturator is a flexible tool allowing you to apply various types of saturations to your signal. The Saturator offers three modes: Classic (legacy mode), Tape, and Tube. You can select the desired mode via the Mode selector.
Page 730 Effect Reference Distortion Effects Classic Mode – Parameter Description Input Controls the input gain of the effect. Increasing Input will also increase the amount of compression performed on the audio signal. Contour Determines how closely the Saturator responds to the input volume.
Page 731 Effect Reference Distortion Effects Tape Mode – Parameter Description MAIN Section Mode Selects between Classic, Tape, and Tube saturation modes. All other parameters vary according to the mode selected here. Input Controls the input gain of the effect. This affects the amount of tape distortion and compression.
Page 732: Perform Fx
Effect Reference Perform FX Tube Mode – Parameter Description Charge In Tube mode the Saturator provides a negative feedback loop that attenuates the level at the Saturator’s input according to the amount of low frequencies at its output. This notably prevents the bass content “polluting”...
Page 733: Filter
Effect Reference Perform FX ▪ Flanger: The Flanger is a comb filter effect. It can behave like a standard flanger or phaser but can also go pretty wild and sound more like a creative delay if you push the decay and delay time.
Page 734 Effect Reference Perform FX Filter Perform FX in the Plug-in Strip. Filter Perform FX in the Control area. Main Page Parameter Description MODE Section Mode Select an effect. TOUCHSTRIP Section MASCHINE MIKRO - Manual - 734...
Page 735: Flanger
Effect Reference Perform FX Parameter Description Engage Activates the filter. Frequency Sets the cutoff frequency according to the min/max range parameters. FILTER Type Selects from Low Pass, Band Pass and High Pass modes. Resonance Sets the resonance of the filter. Values over 100% will lead to self-oscillation—be careful! Turn down the Output Gain (and turn up the Saturation to compensate) in order to avoid extremely loud ringing.
Page 736 Effect Reference Perform FX Flanger Perform FX in the Plug-in Strip. Flanger Perform FX in the Control area. MASCHINE MIKRO - Manual - 736...
Page 737 Effect Reference Perform FX 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 738: Burst Echo
Effect Reference Perform FX 15.7.3 Burst Echo A warm, versatile echo with plenty of character, designed for spontaneous splashes of echo. Strong, responsive attacks that taper off into hazy trails are perfect for dub and can also be tweaked for more extreme sound design. Burst Echo Perform FX in the Plug-in Strip.
Page 739 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 740: 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 741 Effect Reference Perform FX Reso Echo Perform FX in the Plug-in Strip. Reso Echo Perform FX in the Control area. MASCHINE MIKRO - Manual - 741...
Page 742 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 743: 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 744 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 745: 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 746 Effect Reference Perform FX Stutter Perform FX in the Plug-in Strip. Stutter Perform FX in the Control area. MASCHINE MIKRO - Manual - 746...
Page 747 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 748: 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 749 Effect Reference Perform FX Tremolo Perform FX in the Control area. MASCHINE MIKRO - Manual - 749...
Page 750 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 751: 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 752 Effect Reference Perform FX Scratcher Perform FX in the Plug-in Strip. Scratcher Perform FX in the Control area. MASCHINE MIKRO - Manual - 752...
Page 753 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 754: 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 755 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 756 Working with the Arranger Arranger Basics (see ↑2.4.4, Control Area). To mute a Group click the Group letter, for example A1, and right- click ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options availa- ble to manage them.
Page 757: 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 758 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 759: Following The Playback Position In Your Project
Working with the Arranger Arranger Basics Navigating the Arranger from the Controller Use the View mode of your controller to navigate the Song view in the software: Press and hold the VIEW button to enter View mode. You can also press VIEW CON- TROL...
Page 760: Performing With Scenes And Sections Using The Pads
Working with the Arranger Arranger Basics Activate the Follow button to keep following the playhead in the Arranger. To follow the playhead position in the Arranger during playback, click the Follow button in ► the MASCHINE Header. The Follow button lights up in the MASCHINE Header. The Arranger will now switch to →...
Page 761 Working with the Arranger Arranger Basics ▪ The Retrigger setting lets you decide where the next loop will start: ◦ If Retrigger is enabled, the next Section (Ideas view) or Section (Song view) that is se- lected will be forced to play from the start. This is useful if you always want your Scenes or Sections to play from the beginning regardless of what’s happening else- where in the music.
Page 762 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: The next time you select a new Scene/Section or group of Scenes/Sections for looping, the →...
Page 763 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 grid for the jump between Sections. To set the Perform Grid and the Retrigger settings: Press SHIFT...
Page 764: Using Ideas View
Working with the Arranger Using Ideas View Press and hold SCENE to enter Scene mode (or pin it by pressing SCENE + CONTROL). Press the Right Page button to access page 4. At the bottom of the display you see the current Retrigger value (OFF by default).
Page 765: Creating Scenes
Working with the Arranger Using Ideas View The Ideas view. ▪ At the top you can see Scene slots. The selected Scene is highlighted. ▪ The selected Scene displays the selected Patterns for the current Scene. Scene Mode on the Controller The Scene mode is where you select and manage your Scenes.
Page 766: Assigning And Removing Patterns
Working with the Arranger Using Ideas View Creating a Scene in Ideas View To create a new Scene, click the “+” button located after all existing Scene names in the ► top row of the Ideas view. Click the “+” button to create a new Scene. ▪...
Page 767 Working with the Arranger Using Ideas View Assigning and Removing a Pattern in Ideas View Select a Scene slot. Then click the Pattern slot you want to assign or remove for that Scene. Upon your selection, the Pattern is inserted into the selected Scene: →...
Page 768 Working with the Arranger Using Ideas View 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- ►...
Page 769: Selecting Scenes
Working with the Arranger Using Ideas View 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 770 Working with the Arranger Using Ideas View Select the desired Scene by clicking its name at the top of the Ideas View: ► The Scene name is now highlighted to indicate that this Scene is selected. → Once a Scene Has Been Selected… Once you have selected a Scene, the following happens: ▪...
Page 771: Deleting Scenes
Working with the Arranger Using Ideas View If the last Scene bank is selected and not empty, pressing SHIFT + Right Arrow button will create a new, empty Scene bank — see section ↑16.2.6, Creating and Deleting Scene Banks for more info. Selecting a Scene To select a Scene in the current Scene bank: Press...
Page 772: Creating And Deleting Scene Banks
Working with the Arranger Using Ideas View Instead of deleting the Scene, which removes it entirely, you can also clear the Scene: This will only remove its content — the Scene will stay in your arrangement, but empty. For more information on clearing Scenes, see section ↑16.2.7, Clearing Scenes.
Page 773: Clearing Scenes
Working with the Arranger Using Ideas View 16.2.7 Clearing Scenes Clearing a Scene allows you to remove all its Patterns, leaving the Scene empty. Clearing Scenes is only available from within the software. While deleting a Scene removes it entirely from your arrangement, clearing it only removes its con- tent —...
Page 774 Working with the Arranger Using Ideas View For more information on the Default page of the Preferences, read: ↑3.6.4, Preferences – De- fault Page. Duplicating a Scene in the Software To duplicate a Scene in the software: Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu. ►...
Page 775: Reordering Scenes
Working with the Arranger Using Ideas View The selected Scene is duplicated in accordance with the setting in the Default page of the → Preferences. For more information, read: ↑3.6.4, Preferences – Default Page. 16.2.9 Reordering Scenes Reordering Scenes in Ideas view allows you to visually organize your ideas and also place each idea on a specific pad of your controller.
Page 776: 16.2.10 Making Scenes Unique
Working with the Arranger Using Ideas View The Scene takes its new place. On your controller in Scene mode, you can now select this → Scene via the pad corresponding to its new location. 16.2.10 Making Scenes Unique If a Scene is referencing the same Patterns you can make a separate (unique) copy of the Scene and its Patterns by selecting Unique.
Page 777: 16.2.11 Appending Scenes To Arrangement
Working with the Arranger Using Ideas View Making Scenes Unique Using the Controller To make a Scene unique using your controller: Press NAVIGATE + Button 2 (IDEAS) to enter Ideas view. Press and hold SCENE to enter Scene mode. Press SHIFT + Left/Right Arrow to select the desired Scene bank.
Page 778: 16.2.12 Naming Scenes
Working with the Arranger Using Ideas View Appending a Scene to the Arrangement Using the Controller Using your controller you can append a Scene to the arrangement. Press SHIFT SCENE to enter Ideas view. Press and hold SCENE to enter Scene mode. Press SHIFT + Left/Right Arrow to select the desired Scene bank.
Page 779: 16.2.13 Changing The Color Of A Scene
Working with the Arranger Using Ideas View the pad grid and select Rename from the context menu: The Scene name gets highlighted and editable. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to cancel you change).
Page 780 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 781: Using Song View
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 782 Working with the Arranger Using Song View To open the Section Manager, click the drop-down menu on the left of the arrangement. The Section Manager appears on the right. → Use the Section Manager to manage your Sections. ▪ On the left you can see the list of the 16 Section slots in the selected Section bank. Slots containing a Section show a colored or white bar on the left along with the Section name.
Page 783: Creating Sections
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 784: Assigning A Scene To A Section
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 785: Selecting Sections And Section Banks
Working with the Arranger Using Song View Right-click ([Cmd] + click on macOS) a Section slot and select Append in the context ► menu, then for example, select Scene 2 from the submenu. The selected Scene is added to the Section. →...
Page 786 Working with the Arranger Using Song View Select the desired Section by clicking its name at the top of the Song view: ► The Section name is now highlighted and underlined to indicate that this Section is se- → lected. Selecting a Section and a Section Bank in the Section Manager To select a Section in the Section Manager, do the following: Open the Section Manager (see...
Page 787 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. The Section slot and the corresponding cell on the right are now highlighted to indicate →...
Page 788 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 to enter Song view. Press and hold SCENE to enter Scene mode (or pin it by pressing SCENE + MAIN).
Page 789: Reorganizing Sections
Working with the Arranger Using Song View Press SHIFT + Left/Right Arrow button to select the previous/next Section bank, respec- tively. If the last Section bank is selected and not empty, pressing SHIFT + Right Arrow button will create a new, empty Section bank, see section ↑16.3.12, Creating and Deleting Section Banks for more info.
Page 790 Working with the Arranger Using Song View 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. When the insertion line appears at the desired location, release the mouse button.
Page 791: Adjusting The Length Of A Section
Working with the Arranger Using Song View The Section takes its new place. In Section mode you can now select this Section via the → pad corresponding to its new location. 16.3.6 Adjusting the Length of a Section Here are a few rules on how Sections, Scenes and Patterns are displayed within the Arranger: By default the length of a Section is automatically set to the longest Pattern used within the referenced Scene (Auto Length), unless the length of the Section is manually set to a specific bar range (Manual Length).
Page 792: 16.3.6.1 Adjusting The Length Of A Section Using The Software
Working with the Arranger Using Song View ▪ Scenes always start at the beginning of the Section. 16.3.6.1 Adjusting the Length of a Section Using the Software Variable Section length allows you to lengthen or shorten a Scene on the Timeline of the Ar- ranger without altering the referenced Patterns.
Page 793: 16.3.6.2 Adjusting The Length Of A Section Using The Controller
Working with the Arranger Using Song View 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. Only the visible part of the Scene will be audible during playback.
Page 794: Clearing A Pattern In Song View
Working with the Arranger Using Song View Turn the Control encoder to adjust the length of the Section as required. Turning the en- coder left will shorten the Section, turning it right will lengthen the Section. Press and turn the Control encoder to change the Section length in smaller increments. The Section length is adjusted accordingly.
Page 795 Working with the Arranger Using Song View ▪ The selected Section is duplicated in accordance with Scene / Section settings in the fault page of the Preferences. Duplicating a Section on Your Controller To duplicate a Section using your controller: Press SHIFT SCENE...
Page 796: 16.3.8.1 Making Sections Unique
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 797: Removing Sections
Working with the Arranger Using Song View The Section will become independent of any Sections it was linked to and the Patterns → can be edited without affecting any the original Sections. 16.3.9 Removing Sections To remove a Section from the arrangement: In the top row of the Song view, right-click ([Ctrl]-click on macOS) the name of the Sec- ►...
Page 798: 16.3.10 Renaming Scenes
Working with the Arranger Using Song View Press (REMOVE). The Section is removed from the arrangement. The next Sections shift ahead to fill the → gap. Alternate Method Press SHIFT SCENE to enter Song view. Press and hold SCENE to enter Section mode. Press SHIFT + Left/Right Arrow to select the desired Section bank.
Page 799: 16.3.11 Clearing Sections
Working with the Arranger Using Song View Double-click the Scene name at the top of the Song view. 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 is highlighted and editable.
Page 800: 16.3.12 Creating And Deleting Section Banks
Working with the Arranger Using Song View 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. For information on deleting Sections, see section ↑16.3.9, Removing Sections.
Page 801: 16.3.13.2 Selecting A Pattern In Song View
Working with the Arranger Using Song View Right-click ([Ctrl]-click on macOS) an empty cell the Section where you want to create a ► new Pattern, and click Create in the menu. A new empty Pattern is created within the selected Section. →...
Page 802: 16.3.13.5 Coloring A Pattern In Song View
Working with the Arranger Using Song View 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. To recolor a Pattern in Song view: Right-click ([Ctrl]-click on macOS) the Pattern you want to recolor, and select Color in the menu.
Page 803: 16.3.14 Enabling Auto Length
Working with the Arranger Using Song View 16.3.14 Enabling Auto Length By default a Section is set to Auto Length allowing it to resize automatically to the content within the Section. If the length of a Section is manually adjusted by truncating or lengthening the Section end marker, Auto Length is discarded and the Section automatically set to Manual Length.
Page 804: 16.3.15 Looping
Working with the Arranger Using Song View Press SHIFT (AUT LEN) to enable Auto Length. Auto Length is enabled and the selected Section is automatically resized to fit the content → of the Patterns within the assigned Scene. 16.3.15 Looping Activate a Loop to repeatedly play a section of the Arrangement.
Page 805: 16.3.15.2 Setting The Loop Range Using The Controller
Working with the Arranger Using Song View Click and drag the Loop range left or right. ► The whole Loop range is moved. → Activating or Deactivating a Loop in the Software To activate a Loop using the software: Click the Loop button in the header to activate or deactivate the loop. ►...
Page 806: Playing With Sections
Working with the Arranger Playing with Sections The position of the loop range is adjusted. → Activating or Deactivating a Loop Using MASCHINE MIKRO To activate a Loop using the controller: Press SHIFT RESTART to activate or deactivate the loop. ►...
Page 807 Working with the Arranger Playing with Sections The playhead shows you the current play position. At any time you can jump to another position in your Project: Click anywhere in the timeline to move the playhead to that position in the Project. ►...
Page 808: Triggering Sections Or Scenes Via Midi
Working with the Arranger Triggering Sections or Scenes via MIDI ▪ If playback is on, the playhead jumps to the same relative position in the previous/next Ar- range Grid division. This allows seamless jumps that don’t break the rhythm of your music. If the Arrange Grid is set to (i.e.
Page 809 Working with the Arranger Triggering Sections or Scenes via MIDI Section/Scene Slot MIDI Note Number Program Change Number … … … MIDI Note numbers: Host applications use various conventions to name MIDI notes. For example, in MASCHINE, MIDI note number 0 is referred to as C-2 and MIDI note number 60 (middle C) as C3. Please refer to the documentation of your host to know which convention is used.
Page 810: The Arrange Grid
Working with the Arranger The Arrange Grid The MIDI Change dialog appears. → In the MIDI Change dialog: Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be trig- gered. In Section option, click the Enabled checkbox to enable Sections in the Song view to be triggered.
Page 811 Working with the Arranger The Arrange Grid ▪ Loop start / length ▪ Loop position ▪ Pattern length ▪ Scene length ▪ Song Clip start / length ▪ Playhead relocation The Arrange Grid setting is located at the bottom left corner of the Arranger area and can be activated/deactivated by toggling the Grid symbol.
Page 812: Quick Grid
Working with the Arranger Quick Grid The selected Arrange Grid value is applied. → On your controller: Press the GRID button to access the Grid page. Press to select ARNG (Arrange). Press the left arrow to step through the menu to select VALUE. Turn the Control encoder to select an Arrange Grid value.
Page 813 Working with the Arranger Quick Grid ▪ When the Quick Grid is set to OFF, the Arrange Grid is used. To enable the Quick Grid on your controller: Press GRID to access the Grid page. Press to select ARNG (Arrange). Press the right arrow to step through the menu to select QUICK.
Page 814: Sampling And Sample Mapping
Samples in only one Sound. All this can be done in the Sample Editor. Make sure you check out the tutorial videos regarding sampling on the Native Instruments website (http://www.native-instruments.com). Before recording an external source please consult the documentation that came with your audio interface for information on connecting audio devices and instruments.
Page 815 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 816: Recording Audio
Sampling and Sample Mapping Recording Audio Press SAMPLING to enter Sampling mode and access the Sample content of the focused Sound: Press + pad 13–16 or (hold and turn the Control encoder) to select the desired page: ▪ The Record page allows you to record audio: ↑17.2, Recording Audio.
Page 817: Opening The Record Page
Sampling and Sample Mapping Recording Audio 17.2.1 Opening the Record Page In the software, recording audio is done in the Sample Editor. By default the Sample Editor is on the blank Record page and no further tabs are visible. The Record page tab, plus additional tabs, will become visible once audio has been recorded.
Page 818: Selecting The Source And The Recording Mode
Sampling and Sample Mapping Recording Audio The RECORD page on the controller. To select the parameters described in the following sections, press the Left/Right Arrow buttons. To adjust the selected parameter, turn the Control encoder (for continuous parameters, press and turn the Control encoder to adjust the value in finer increments). 17.2.2 Selecting the Source and the Recording Mode At the bottom of the...
Page 819 Sampling and Sample Mapping Recording Audio ▪ If SOURCE is set to Ext. Mono, you can select either of MASCHINE’s eight external mono inputs: the left (“L”) or right (“R”) channel of each input pair In 1–4. ▪ If SOURCE is set to Internal, you can select the output of any available Group or the Mas- ter.
Page 820 Sampling and Sample Mapping Recording Audio ▪ 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. You must trigger the Sam- pler with MIDI Events, such as those in a Pattern, to play back the audio.
Page 821 Sampling and Sample Mapping Recording Audio in the Group, and then a new Pattern will be created where only this new recording is playing back. Making another recording will result in the recording being loaded into another unused Sound Slot, and another new Pattern will be made where only this most recent recording is playing.
Page 822 Sampling and Sample Mapping Recording Audio Adjusting the source and mode of the recording on your controller. To select the parameters described below press the Left/Right Arrow button. To adjust the selected parameter, turn the Control encoder. For continuous parameters, press and turn the Control encoder to adjust the value in finer increments.
Page 823 Sampling and Sample Mapping Recording Audio You can easily record the output of a particular Sound by setting SOURCE to INTERNAL, soloing this Sound and selecting its parent Group in the INPUT selector! You can also set SOURCE to INTERNAL, choose as INPUT a Group with a drum kit loaded, and record your live improvisations on the pads while playing this drum kit.
Page 824 Sampling and Sample Mapping Recording Audio Parameter Description MODE Select from three available recording modes: DETECT: Select DETECT mode to record audio after the set threshold is has been exceeded. This mode will automatically load the Sampler Plug-in. The selected Take must be triggered using MIDI Events in the Pattern Editor.
Page 825 Sampling and Sample Mapping Recording Audio Parameter Description ▪ Take: Select this to record each new Take into the focused Sound slot. After a Take is recorded it will become visible in the Audio Pool and is automatically selected for playback. You can review all the takes you’ve captured in the Audio Pool, and you can also select any of these takes to make it the one that actively plays back in the Audio plug-in.
Page 826: Arming, Starting, And Stopping The Recording
Sampling and Sample Mapping Recording Audio Monitoring the Input Signal The level meters in the middle of the display show you at any time the level of the selected audio source. For example, this can come in handy to adjust the appropriate threshold in De- tect mode.
Page 827 Sampling and Sample Mapping Recording Audio ▪ When recording in Detect mode: ◦ The recording will start as soon as the input signal exceeds the THRESHOLD value. Until then the Start button turns to a Waiting button and the Waiting for input… mes- sage appears in the information bar above the waveform display.
Page 828 Sampling and Sample Mapping Recording Audio When Recording is Complete When the recording is done, the following things happen: ▪ Each Take is named and stored as a file on your hard disk (see section ↑17.2.6, Location and Name of Your Recorded Samples).
Page 829 Sampling and Sample Mapping Recording Audio 17.2.4 Arming, Starting, and Stopping the Recording on Your Controller Starting and stopping the recording. Press (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 830: Checking Your Recordings
Sampling and Sample Mapping Recording Audio If you want to start and stop the recording manually, set the MODE to DETECT, dial the THRESH- down to and start the recording by pressing START (F1). To stop recording, press STOP (F1). In any case the recorded audio will be stored in the Sound that was under focus as you started the recording.
Page 831 Sampling and Sample Mapping Recording Audio (1) Waveform display Shows the waveform of the recording currently selected in the Audio Pool (5) — by default your last recording: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (2).
Page 832 Sampling and Sample Mapping Recording Audio (5) Audio Pool All the takes you have made since you opened the current Project are stored in the Audio Pool and displayed as mini waveforms under the waveform display. The following actions are availa- ble: ▪...
Page 833 Sampling and Sample Mapping Recording Audio The name of the recorded Sample is shown on the display. The name of the Sample are indicated on the display. Using the Audio Pool All the recordings you have made since you opened the current Project are stored in the Audio Pool.
Page 834: Location And Name Of Your Recorded Samples
Sampling and Sample Mapping Recording Audio 17.2.6 Location and Name of Your Recorded Samples By default, recorded Samples (takes) are saved in the Recordings subfolder of your Standard User Directory, as defined on the User pane of the Library page in the Preferences panel (see ↑3.6.4, Preferences –...
Page 835: Using The Edit Page
Sampling and Sample Mapping Editing a Sample ▪ If you have just recorded a Sample, it will directly appear here. If you have recorded more than one Sample, the Sampled selected in the Recording History (by default the last re- corded Sample) will appear here, see section ↑17.2.5, Checking Your Recordings for more...
Page 836 Sampling and Sample Mapping Editing a Sample (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 837 Sampling and Sample Mapping Editing a Sample Command Description Deselect Cancels the current selection range. Select All Selects the entire Sample. Select Play Range Selects the play range, i.e. the region between the markers. This is equivalent to double-clicking anywhere in the waveform. Select Loop Selects the loop range.
Page 838 Sampling and Sample Mapping Editing a Sample Adjusts the range that will be played when you trigger a note. Adjust the play start and end points in the Sample via the Start parameters. You can also do it by dragging the white markers labeled on the waveform display (1) using the mouse as described above.
Page 839 Sampling and Sample Mapping Editing a Sample Press to select WAVE. Press pad to zoom in on the waveform of the Sample and pad to scroll through it. When you are done, don’t forget to press the lit VIEW button again to leave View mode and switch back to Sampling mode.
Page 840 Sampling and Sample Mapping Editing a Sample Parameter Description START Adjusts the start point of the play range in the Sample. Adjusts the end point of the play range in the Sample. Press and turn the Control encoder to adjust the parameters in finer increments. In the waveform on the display, the regions outside the play range are grayed out.
Page 841: Audio Editing Functions
Sampling and Sample Mapping Editing a Sample In the waveform on the display, the selection range is highlighted. Changing the play range automatically resets the selection range to the new play range. Audio Editing EDIT page provides several audio editing functions to process your Sample. Available via F1–F3 buttons above the right display, these functions are described in detail in the next section...
Page 842 Sampling and Sample Mapping Editing a Sample Command Description TRUNCATE This deletes the part of the Sample that is outside of the selected region. NORM. (Normalize) This adjusts the level of the selected region to the maximum possible value without clipping. REVERSE This reverses the selected region of the Sample.
Page 843 Sampling and Sample Mapping Editing a Sample The stretch controls at the bottom of the Edit page. These controls allow you to adjust the parameters of the time stretching / pitch shifting func- tion before applying it to the selected region. Pitch shifting and time stretching can be applied independently.
Page 844 Sampling and Sample Mapping Editing a Sample Parameter Description SRC BPM (Source Allows to define the tempo of the original audio (in BPM). This tempo BPM, Beat mode is defined in different ways according to the AUTO DTCT value: only) AUTO DTCT is enabled, you can set the length (in bars) of the original audio.
Page 845 Sampling and Sample Mapping Editing a Sample Audio editing functions at the top of the display on the controller. to select the desired audio function. Press to perform the selected audio function. The audio function will be performed on the selected region in your Sample, as defined by →...
Page 846 Sampling and Sample Mapping Editing a Sample Parameter Description FIX DC 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 847 Sampling and Sample Mapping Editing a Sample Parameters for the Stretch function. Following parameters are available: Parameter Description STRETCH section TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and cents). Leave this value to 0.00 to leave the original pitch untouched. FORMANT C Enables/disables the formant correction.
Page 848 Sampling and Sample Mapping Editing a Sample Parameter Description SRC BPM SRC BPM (Source BPM) allows to define the tempo of the original audio (in BPM). This tempo is defined in different ways according to (Source BPM, Beat AUTO DTCT value: mode only) AUTO DTCT...
Page 849: Slicing A Sample
Sampling and Sample Mapping Slicing a Sample 17.4 Slicing a Sample Slicing allows you to chop up loops to extract single Sounds (the drum sounds of a drum loop for example), but it's also good for preparing a loop to be played back at another tempo without changing its pitch or timing.
Page 850: Opening The Slice Page
Sampling and Sample Mapping Slicing a Sample 17.4.1 Opening the Slice Page In the software, slicing a Sample is done in the Slice page of the Sample Editor. In the Sample Editor, click the Slice tab at the top to open the Slice page.
Page 851: Adjusting The Slicing Settings
Sampling and Sample Mapping Slicing a Sample The SLICE page on the controller. To select the parameters described in the following sections, press the Left/Right Arrow buttons. To adjust the selected parameter, turn the Control encoder (for continuous parameters, press and turn the Control encoder to adjust the value in finer increments). 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...
Page 852 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 853 Sampling and Sample Mapping Slicing a Sample Parameter Description MONO The Sample Slicer Mono option when activated automatically sets the Voice and Choke Group of all sample slices to 1 when slicing to a Group. This time saving feature is useful when you don’t want to have lots of samples triggered or repeating at the same time, for example, when you slice a drum loop and trigger the individual hits to form a new pattern.
Page 854 Sampling and Sample Mapping Slicing a Sample Adjusting the slicing settings. Any change to these settings will directly affect the number and position of the Slice markers shown in the waveform on the display. Selecting and Prelistening the Slices with the Pads At any time the proposed Slices are also available on your pads: The fully lit pad indicates the selected Slice, while the dim lit pads indicate the other Slices.
Page 855 Sampling and Sample Mapping Slicing a Sample Following parameters are available: Parameter Description TIME Section MODE Here you can select either SPLIT, GRID, DETECT or MANUAL: Split mode: The Sample will be sliced into equally spread Slices. Grid mode: The Sample will be sliced according to note values. Detect mode: The Sample will be sliced according to its transients.
Page 856: Live Slicing
Sampling and Sample Mapping Slicing a Sample The ENGINE section. This ENGINE section contains a single parameter: ZERO-X. Parameter Description ENGINE Section (Detect mode only) ZERO-X (Zero When MODE is set to DETECT, activate ZERO-X to force the detected Crossing, Detect mode Slices to be created on the closest locations where the audio signal only) crosses the zero value.
Page 857: 17.4.3.2 Delete All Slices
Sampling and Sample Mapping Slicing a Sample Press Pad 1 to add the first Slice to the sample. Press Pad 2 to add the second slice point. Continue to press subsequent pads as they flash to add more slices. When playback of the sample stops you may fine-tune the start and end points of your →...
Page 858: Manually Adjusting Your Slices
Sampling and Sample Mapping Slicing a Sample Press and turn the Control encoder to select SLICE. Press to select EDIT mode. Press SHIFT to select DEL ALL to delete all slices. Press (EDIT) to exit EDIT Mode. Press APPLY to remove the Slices from the Sound or Group. All extra Slices and Keyzones will be deleted leaving just the first Keyzone in place.
Page 859 Sampling and Sample Mapping Slicing a Sample Manually adjusting your Slices. (1) Waveform display Shows the selected Sample with a couple of spread vertical lines in the waveform: this is where the Slices are going to be applied (i.e. cut). ▪...
Page 860 Sampling and Sample Mapping Slicing a Sample Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Slice under as a distinct file on your computer.
Page 861 Sampling and Sample Mapping Slicing a Sample (3) Timeline Shows the time scale in seconds. (4) Information bar Displays the file name and the length of the selected Sample. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.6, Using the Cue Bus for more information).
Page 862 Sampling and Sample Mapping Slicing a Sample Manually Adjusting Slices Using Your Controller Your controller provides a dedicated Slice Edit mode that allows you to select and fine-tune each particular Slice. On the SLICE page of the Sampling mode, press (EDIT) to enter/leave Slice Edit ►...
Page 863: Applying The Slicing
Sampling and Sample Mapping Slicing a Sample Parameter Description Adjusts the end point of the selected Slice. Note that moving the end point of a Slice does not simultaneously move the start point of the next Slice — in opposition to adjusting the START parameter (see above).
Page 864 Sampling and Sample Mapping Slicing a Sample You can apply the slicing in various ways. (1) Apply button Exports the Slices to the same Sound. If you click Apply, the Slices will be mapped to individ- ual notes of this Sound, the Sample Editor will be replaced by the Pattern Editor in Keyboard view, and the pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads.
Page 865 Sampling and Sample Mapping Slicing a Sample ◦ The pads of your controller will switch to Keyboard mode so that you can directly play your Slices on the pads. ◦ Depending on the setting of the Pattern Creation selector (3), notes will be automati- cally created for each Slice (see below).
Page 866 Sampling and Sample Mapping Slicing a Sample ◦ If Slices are exported to a Group the sequence of notes will contain one note for each Sound containing a Slice. Any existing notes for these Sounds will be replaced. Notes for other Sounds in the Pattern will stay untouched. ▪...
Page 867 Sampling and Sample Mapping Slicing a Sample The root note parameter is shared among all Sounds in a Group. However, when applying slices to a Sound, these slices will always start at the lowest possible note, to make room for the maximum number of slices.
Page 868 Sampling and Sample Mapping Slicing a Sample Press (APPLY) to export the Slices. The Slices will be mapped to individual notes of the selected Sound, starting with the → bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bottom C as well (see section Adjusting the Base Key for more information on the base key).
Page 869: Mapping Samples To Zones
Sampling and Sample Mapping Mapping Samples to Zones Exporting a Single Slice Instead of exporting all Slices, you can also export the selected Slice only: On the SLICE page, select the Slice you want to export by pressing its pad. Press (APPL.TO).
Page 870: Zone Page Overview
Sampling and Sample Mapping Mapping Samples to Zones The Zone page (here for an empty Sound). Opening the ZONE Page on Your Controller In Sampling mode, press + pad to show the ZONE page. You can also hold ► and turn the Control encoder. The ZONE page on the controller.
Page 871 Sampling and Sample Mapping Mapping Samples to Zones Zone page: an overview. (1) Zone List button: Shows/hides the Zone List (4). (2) Sample View button: Switches the Zone page between Map view and Sample view (5). (3) Information bar: Displays the file name and the length of the Sample in the focused Zone. Click and hold the little play icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.6, Using the Cue Bus...
Page 872: Selecting And Managing Zones In The Zone List
Sampling and Sample Mapping Mapping Samples to Zones ton (2) to switch between the Map view and the Sample view (the Sample view is visible when the Sample View button is enabled). The Map and Sample views are explained in detail in sec- tion ↑17.5.4, Selecting and Editing Zones in the Map View ↑17.5.5, Editing Zones in the...
Page 873 Sampling and Sample Mapping Mapping Samples to Zones Drag a Sample from the Browser’s LIBRARY FILES pane or from your operating system ► onto the empty area in the Zone List. Click the “+” at the end of the Zone List. A Load Sample dialog opens up.
Page 874 Sampling and Sample Mapping Mapping Samples to Zones Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load Sample… in the menu that opens. A Load Sample dialog opens up. Navigate to the desired audio file on your operating system and press [Enter] to confirm. The dragged or selected Sample replaced the previous Sample in the target Zone.
Page 875 Sampling and Sample Mapping Mapping Samples to Zones ▪ The other selected Zones are highlighted in white. Their settings are not displayed any- where, however they will be affected by your actions in the Zone List and in the Map view (see section ↑17.5.4, Selecting and Editing Zones in the Map View for more on this).
Page 876 Sampling and Sample Mapping Mapping Samples to Zones In that menu selects Delete to remove the focused Zone only, or Delete Selected to re- move all selected Zones. Moving Zones in the List You can move your Zones across the Zone List via drag and drop: Select the Zone(s) you want to move.
Page 877: Selecting And Editing Zones In The Map View
Sampling and Sample Mapping Mapping Samples to Zones Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone. The Sample can be played back on the Cue channel at any time by pressing the corresponding pad on your controller.
Page 878 Sampling and Sample Mapping Mapping Samples to Zones The Map view of the Zone page. (1) Sample Map The Sample Map shows all Zones contained in your Sound. ▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis rep- resents velocities from 0 to 127.
Page 879 Sampling and Sample Mapping Mapping Samples to Zones You can also add a Sample by dragging it directly onto the Sample Map. See section ↑17.5.7, Add- ing Samples to the Sample Map for more information. (2) Virtual keyboard Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of the selected Zone is indicated by the colored key.
Page 880 Sampling and Sample Mapping Mapping Samples to Zones Mouse/Keyboard Action Command Hold [Ctrl] ([Cmd] on macOS) and Selects all clicked Zones. Click a selected Zone to click several Zones deselect it (i.e. remove it from the selection). Hold [Shift] and click two Zones Selects both Zones and all Zones in-between.
Page 881: Editing Zones In The Sample View
Sampling and Sample Mapping Mapping Samples to Zones For more information on the Edit Slice pages, please refer to section ↑17.3, Editing a Sample ↑17.4, Slicing a Sample, respectively. Sample Map Menu The Sample Map menu contains additional editing facilities. Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu.
Page 882 Sampling and Sample Mapping Mapping Samples to Zones The Sample view of the Zone page. (1) Waveform display Shows the waveform of the Sample for the focused Zone. The waveform display provides fol- lowing tools: ▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar (3).
Page 883 Sampling and Sample Mapping Mapping Samples to Zones Command Description Open containing folder Opens the folder on your hard disk containing the Sample, providing quick access to the original file. Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the focused Zone under another name and/or to another location on your computer.
Page 884: Adjusting The Zone Settings
Sampling and Sample Mapping Mapping Samples to Zones 17.5.6 Adjusting the Zone Settings At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings in the software. The various sections always display the values for the focused Zone.
Page 885 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 886 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 887 Sampling and Sample Mapping Mapping Samples to Zones Editing Your Zones on the Controller At the bottom of the display, the Zone settings allow you to adjust how each Zone should be played back. The Zone settings on the controller. The various parameters always display the values for the focused Zone.
Page 888 Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller – page 1 of 5: PLAY RANGE parameters. Parameter Description START Adjusts the playback’s start point in the Sample of the focused Zone. Adjusts the playback’s end point in the Sample of the focused Zone. Press and turn the Control encoder to adjust the parameters in finer increments.
Page 889 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 890 Sampling and Sample Mapping Mapping Samples to Zones Parameter Description TUNE Sets the tuning of the focused Zone. GAIN Sets the gain of the focused Zone. 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.
Page 891: Adding Samples To The Sample Map
Sampling and Sample Mapping Mapping Samples to Zones The ZONE page on the controller, page 5 of 5: MAP parameters. Parameter Description KEY LO (Lowest Key) Sets the lowest note (key) of the focused Zone. KEY HI (Highest Key) Sets the highest note (key) of the focused Zone. VEL LO (Lowest Velocity) Defines the lowest velocity of the focused Zone.
Page 892 Sampling and Sample Mapping Mapping Samples to Zones ▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the Sample Map the Zone will cover the root key only; dragging your mouse up in the upper half of the Sample Map will extend the Zone’s key range up to one octave above the root key;...
Page 893 Sampling and Sample Mapping Mapping Samples to Zones In the Browser, select the Sample you want to add to the map of the current Sound (see ↑4.2, Searching and Loading Files from the Library for more information on using the Browser on your controller).
Page 894: Appendix: Tips For Playing Live
Appendix: Tips for Playing Live Preparations Appendix: Tips for Playing Live MASCHINE is a very hands-on tool for producing music as well as for performing live. Here we have specifically gathered some tips to help you when playing live. If you are used to playing live, you may not need them, but maybe you will find some new ideas to integrate into your set.
Page 895: Name And Color Your Groups, Patterns, Sounds And Scenes
Appendix: Tips for Playing Live Preparations 18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes Naming and coloring your Groups, Patterns, Sounds and Scenes gives you a better overview of exactly what you are doing. The colors you select are mirrored on the controller. This is espe- cially helpful if you focus on playing with the MASCHINE controller.
Page 896: Basic Techniques
Appendix: Tips for Playing Live Basic Techniques 18.2 Basic Techniques 18.2.1 Use Mute and Solo Mute and Solo are a good way to build up a live set especially on the MASCHINE controller as you can mute and solo Groups and Sounds at the same time. Since soloing a Sound mutes all Sounds except one, the MUTE button can then be used to...
Page 897: Special Tricks
Appendix: Tips for Playing Live Special Tricks modulation for the multi-effect as Patterns from within the MASCHINE software. By using Pat- terns for the multi-effect Group you could for example trigger a filter sweep or a wild modulat- ed Beat Delay. See section ↑14.4, Creating Multi-Effects for more details! 18.3...
Page 898: Troubleshooting
Knowledge Base Troubleshooting If you are experiencing problems related to your Native Instruments product that the supplied documentation does not cover, there are several ways of getting help. Before getting help please make sure you have downloaded the latest MASCHINE software from Na- tive Access.
Page 899: Registration Support
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 you’re encountering an issue that can’t be solved by other users, contact Native Instruments’...
Page 900: Glossary
Glossary Glossary In this glossary you will find short definitions for numerous terms used in the MASCHINE con- text. If you have any doubts about the meaning of a word, this is the place to check! Arranger The Arranger is the big area located in the upper part of the MASCHINE window, right under the Header.
Page 901 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 902 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 903 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 904 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 905 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 906 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 907 Glossary Step Steps are elementary time blocks. They are notably used to apply quantization or to compose Patterns from your controller in Step mode. All steps together make up the Step Grid. In the software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size, e.g., to apply different quantization to different events or to divide the Step Grid into finer blocks to edit your Pattern more precisely.
Page 908: Index
Index Index Audio Engine button [55] Audio input [548] [649] Ableton Link Audio interface [895] [133] connecting to a network input and output routing [102] [134] joining a Link Session [102] selecting inputs and outputs Amplitude Envelope (Sampler) [324] [102] settings Arrange Grid [458]...
Page 909 Index definition [900] Channel [269] Groove properties Base key [257] Input properties (Audio page) [548] [649] Beat Delay [715] [593] Macro properties Bit depth [553] Output properties (Audio page) [246] exporting audio [558] Output properties (Aux page) [727] reducing (effect) Channel icon [61] BP2 (Filter mode)
Page 910 Index Group [228] TRANSPORT section [48] [527] Controller mode [34] Pattern [779] Controller modes Scene [214] Sound temporary vs. pinned [71] Color a Pattern Controller settings [125] [802] Controlling external MIDI devices using Macro Song view Controls [596] Compressor [667] Copy/paste Content selector [57]...
Page 911 Index DUPLICATE button [52] Duplicating Delay effects [715] [796] Making Sections Unique Delete Dynamics effects [667] [490] events/notes (controller) [489] events/notes (software) [236] Group Digital distortion [727] Display [46] Display area [55] Display brightness [125] Distortion [724] [726] Analog [895] avoiding [725] Mullholland...
Page 912 Index Freq Shifter [698] [671] Gate EDIT page [718] Grain Delay [838] controller [721] Grain Stretch Edit page (software) [834] [701] Effect categories [902] insert effect delays [715] [676] Limiter [724] distortions [635] loading [667] dynamics [727] Lofi [684] filtering [644] manipulating modulation...
Page 913 Index ERASE button [49] Exporting audio Event [533] from Patterns [902] External audio [548] [649] definition Events External Plug-ins [333] [494] cut/copy/paste (controller) [492] cut/copy/paste (software) F1, F2, F3 buttons [45] definition [65] Favorites [173] [490] deleting (controller) [173] [489] deleting (software) [173] Remove...
Page 914 Index muting and soloing [264] [227] naming Gate [671] [553] Output properties (Audio page) Gate mode [355] [558] Output properties (Aux page) Grain Delay [718] [231] pasting Grain Stretch [721] [229] saving GRID button [49] [237] saving with Samples Groove [269] [656] set up as send effect...
Page 915 Index Header [53] [701] [55] Ideas view Audio Engine button Browser button [54] [65] [902] definition [55] [59] [755] CPU meter Groups [903] [59] [755] definition Pattern area [55] Display area Scenes [59] [755] MASCHINE menu [54] Import [55] [537] Master Volume slider MIDI to Pattern [55]...
Page 916 Index Latency [104] [894] Macro Control [687] [695] [700] [903] definition Library [136] Macro Controls [593] [193] MAIN button [46] importing your own files LIBRARY pane [138] Main Mode [46] LIBRARY tab [56] Making Sections Unique [796] Limiter [676] MASCHINE Library [136] [895] MASCHINE menu...
Page 917 Index MIDI [23] events/notes (software) [486] [580] [235] automation Group [131] [531] connecting external equipment Pattern [580] [315] controlling parameters via Plug-in [775] [579] Scene (software) disabling MIDI Scene Change [579] [790] enabling MIDI Scene Change Section (controller) [535] [789] exporting from Pattern Sections (software) [537]...
Page 918 (software) Pattern [525] [494] quantizing [778] Scene [484] quick selecting (controller) [213] Sound slot [486] resizing (software) Native Instruments Plug-ins [333] [483] [484] [485] selecting (controller) Native Kontrol Standard [93] [489] transposing (controller) NAV button [46] [487] transposing (software) Navigate...
Page 919 Index creating (controller) [520] [519] creating (software) PAD MODE button [51] [529] cut/copy/paste content (software) Pad modes cut/copy/paste events/notes (controller) [904] definition [494] Pad modes (controller) [254] [492] cut/copy/paste events/notes (software) Pad sensitivity [125] [65] [904] definition Pads [52] deleting (software) [521] [258] Choke groups...
Page 920 Index quantizing events/notes [494] Pattern mode [515] [466] Pattern Variation recording in Control mode (controller) [474] [498] recording in Step mode (controller) accessing mode [766] removing applying settings to selected Sound [499] [525] renaming [498] [499] Humanize mode [533] [498] [499] rendering audio from Random mode [486]...
Page 921 [66] [905] Pre-listening Samples [168] [170] definition [304] Preset loading [315] [343] moving External Plug-ins [312] muting Native Instruments Plug-ins [343] [316] saving presets [316] saving Plug-in presets [96] [343] Switching instances using VST/AU presets Plug-in icon [61] Product selector...
Page 922 Index events/notes (software) [486] [460] Pattern (controller) Randomizing [459] Pattern (software) [499] Pattern Variation Resochord [722] REC button [49] RESTART button [48] Record Result list Count-in [471] in FILES pane [187] [190] [473] Input Quantization [140] [161] in LIBRARY pane [466] Overdub mode Retrigger Scenes...
Page 923 Index Save [229] Group Sample [237] Group with Samples [905] definition [316] Plug-in preset exporting with Group [237] [239] Project with Samples [239] exporting with Project [215] Sound [193] importing into Library Scales [195] missing 5-Tone [286] pre-listening [168] [170] [284] Jazz Sample Editor...
Page 924 Index duplicating (controller) [773] [774] clearing (software) [799] [760] [784] jumping to another creating (controller) [50] [783] mode creating (software) [778] [66] [906] naming definition [775] [795] reordering (software) duplicating (controller) [761] [794] Retrigger duplicating (software) [771] [760] selecting (controller) jumping to another [769] [51]...
Page 925 Index SELECT button [52] Clear a Pattern [801] Select mode (controller) [802] Color a Pattern [484] [800] selecting events/notes Create a Pattern [66] [900] Selecting definition [802] [254] Duplicate a Pattern Pad mode (controller) Semitones [60] [756] Groups [60] [757] [489] Pattern area transposing events/notes by...
Page 926 Index muting and soloing [264] definition [907] [213] Step Backward/Forward buttons [49] naming [553] Step Forward button [49] Output properties (Audio page) [558] Output properties (Aux page) Step Grid [63] [461] [589] Output properties (MIDI page) [907] definition [217] Step mode pasting [221] resetting slot...
Page 927 Index Tag Filter [57] Undo [77] [154] using Tags Variation [183] assigning Types and Sub-Types [498] accessing mode [184] creating [498] adding to Pattern Take Undo/Redo [77] [78] [499] applying settings to selected Sound Tape saturation [730] [499] Humanize mode parameters Template Project [500] Random mode parameters...
Page 928 Index software [869] ZONE page (controller) [870] Zone page MASCHINE MIKRO - Manual - 928...