Nov 14

NATIVE INSTRUMENTS MASCHINE MK2

Now that I have got a collection of Sonar 2 clips, I thought it would be nice to have something similar for the NI Maschine Mk2. If you are like me and are just getting started with Maschine then you may appreciate having a bunch of selected clips from You Tube to help you on your way all in one place for quick reference – I know I do.

Now I have been working a few weeks with NI Maschine, I think it is a good idea to include early You Tube Clips as well because the data is still very valid and I have learned much from them. A very big thank you to the guys that have put these together – excellent job. Learning a new piece of kit like Native Instruments Maschine takes a while to get really good and you want to get there as soon as possible, so hopefully all these many You Tube clips will help you and me on our way.

1. MASCHINE MK2 NEW HARDWARE FEATURES + 1.8 SOFTWARE

A great look at the new Native Instruments Mk2 Maschine and of course the huge updated software to 1.8. It covers the importance of colours making it easier to see and edit, hardware changes with better pads, better LCDs, USB connection recessed. 3 knobs for Volume, Swing and Tempo. Massive is now included – such a great synth. Automation improved and you can pin autowrite. As a plug-in Maschine now has host transport control. Time Stretching is here as everyone wished for. New Effects Tape and Tube Saturation (great for guitar sounds) and Transient Master which is a very useful effect as it can tighten up your loops or make them sound very loose. There is also the new Select option and a Choke feature which is useful for Hi-Hats so that open and closed will not play at the same time. There is also improvements to ‘Missing Samples’ which makes it easier to locate your samples and you can now save Groups with Samples.

2. MASCHINE MK2 TIME STRETCHING AUDIO

Another excellent You Tube Clip on Maschine’s Time Stretching abilities. Native Instruments have been asked about this since day one and now they have included it and made it easy to use with great results. The reasons that you would want to have time stretching is so that you can adjust the tempo of your audio without changing the pitch. You could do this in other software but it is nice having it all in one place within Maschine, where you can sample and time-stretch as necessary. The settings within Time Stretch Beat Mode show you the original BPM, the new BMP and the Stretch Length. You can also select Free Mode where you make decisions to adjust the natural tempo down a percentage. You can then try your stretched audio with matching BPM drum loops to see what you like. Another reason for using time stretch is if you are doing some re-mixing. Lastly it is great to use this with your Vocals, pitch-shifting for some excellent vocal effects.

3. MASCHINE MK2 1.8 UPDATE REVIEW

This is a four minute overview of the new maschine mark 2 and the update of the software to version 1.8. It lists the changes and explains what the changes are but does not really show in any detail. It highlights the useful use of colours. With enhanced workflow improvements for faster performance, changes to the hardware design, automation of patterns on the fly, the inclusion of Massive complete with 1300 sounds. It also has new saturator tape and tube plugins and a new effect called Transient Master.

4. MASCHINE MK2 1.8 TIPS NEW SATURATOR TAPE N TUBE PLUGINS

This is an in-depth look at Maschine’s new Saturator Tape and Tube plugins that are not separate plugin-ins that open out into their own window but are built-in the Maschine in its effects section. This clip shows tips and tricks on how to get the best out of these and how to make some Dope Drums and how to make it into a REX group – sounds very interesting. If you load a loop sample into Maschine, change polyphony to 1, click on the slice tab and slice it but not into too many slices. Manually adjust the slicing timing by sliding the dividers. If you then hold and drag the icon next to the apply button to a new group, this will effectively map the individual parts of your loop to different pads where you can change the colours of each pad for identification and then play the pads to form your own new Pattern or loop. You get then put effects on each individual sound or in this example it may be best to apply it to the whole Maschine Group. Firstly to improve the samples a bit, go to Timestretch and click on the Free mode button and bring the speed down to 60 % and click on the Apply button. If you then go to the new Saturator effect and select the tube saturator. If you start with the Kick Drum and adjust to get some hard-hitting Kick. Do the same with the snare etc. and those Dope Drums start to take shape. Also consider playing with the overall BPM to achieve some further effects.

5. MASCHINE MK2 1.8 COLOUR PADS

A quick look on Maschine 1.8’s new colours and Pads. The Pads now have more of a central white light to show that the Pads are active. There is quite a bit of time here showing you what all 16 pads look like through the different 16 colour bank.

6. BUILDING LIVE REMIXES WITH MASCHINE

This is one of my favourite You Tube clips for Native Instruments Maschine and I found it very useful indeed. It starts by explaining how to take a finished song, sample it and use those samples to create a great ‘Live’ performance. This is demonstrated by using Maschine’s hardware. Locate your song and drag it onto the first sound slot. Click Pad 1 to trigger the song. You then need to adjust the start and end points and pick particular samples that you want to trigger and use in your ‘Live’ performance.

On your controller hit ‘Sampling’ then ‘Edit’. Scroll through the song and in the first place find the Kick. Copy the sample to avoid having to drag it in from the Browser. This is done simply by pressing Duplicate and the sample you want to copy and then hit the pad you want to copy it to. Once you have the Kick on Pad 1 find the Snare and keep duplicating and adjusting start and end points selecting from the best bits of the song such as kick, snare, hats, percussion, turnarounds, bass, leads, vocal snippets, hooks etc.

To glue the sounds together you can use other techniques like Filter, Modulation and FX. Firstly consider making a tune or melody out of one slice. If you copy it over a few times to a few pads, you can then adjust the pitch with the ‘Tune’ knob. Secondly another technique is to reverse things. For example copy over your Snare and kick samples to other Pad and then Reverse them. Thirdly using Filtering can really spice things up. Select your Kick and turn the cut-off down so that you can barely hear it and then go across one window to Modulation Envelope. Here you have an envelope that you can assign based on the parameters in the left hand side of your controller to any of the parameters on the right-hand window. Turn Cut –off up in the right-hand window and then adjust the parameters in the left-hand window to produce a sound to your taste. If you go to the next page you will get an LFO which is a slow moving oscillator which can again modulate any of the destinations on the right. If you turn up the destination to Pitch, you can add subtle variations to your songs.

Another idea is to extend the length of the samples by adding subtle layers of looping. This is done by pressing the ‘Sampling’ button and then ‘Edit’ and use the right arrow to go to ‘Loop’ and then hit ‘Loop Enable’.

Also explained in this clip are Choke Groups and these could be important if you use the Loop Enable so that you can cut off the Loop by hitting another pad. Finally you can add some FX to and/or either individual sounds or the whole group. Just select Modules and then select one of the empty modules. Hold Shift and then select Browse to access all the different modules. If you select Delay and hit ‘Load’ then get out of the Browse mode by holding Shift and select Browse again and now you see that you have some different parameters to play with – Great Stuff – Excellent instruction.

7. USING TRANSIENT MASTER FOR MIXING WITH MASCHINE

This specifically looks at the new effect that came with Maschine’s update to version 1.8 called Transient Master. It is an effect that a lot of people may not fully understand. Most people will use solely for Drums because it will give Snare’s and Kicks extra punchiness. It is a dynamic effect with three parts – Attack, Sustain and Gain. The Manual states “Unlike most Dynamic Processing units such as Compressors or Limiters, the Transient Master does not use the level of your signal to decide when to come into effect.

If you used this on just your snare drum for example and you turn up the Attack and Turn down the Sustain you will instantly get a tighter, punchy sound. If you use this on Synths and Effects for example in this way it can unclutter a synth sound that might have a lot going on. This will then sit better in the mix.

For a Gated Pad which can take up a lot in your mix, the Transient Master can make it more manageable and more percussive sounding. As a general rule you would not put a lot of Delay or Reverb on the Bass sound. You may have created an unusual Bass sound by using the ‘Ice’ effect sounding like a Reverb or Delay but again if you had a sound like this by using the Transient Master you can really make this sound good and tighten everything up.

Lastly when using Big effects which again can clutter the sound too much. You can use the Transient Master to remove that clutter.

8. HOW TO MAKE DUBSTEP IN 3 STEPS WITH MASCHINE

This is only a very short clip giving you a singular example of Maschine’s capabilities in making Dupstep. Whilst you cannot learn a lot from this, it does provide a rhythmic idea as well as a Vocal one. At less than a minute and a half you may as well give it a listen.

9. CONTROLLER WALKTHROUGH WITH MASCHINE MK2

This clip has lots of information and is ideal for beginners and intermediate users alike and usefully starts off explaining the Editing Section in the top half of the Controller. You have two displays with eight unlabelled buttons above and eight unlabelled knobs below. As you enter different modes on the Maschine, you will see corresponding pages, modules, functions and data in both displays.

When Tabs appear at the top of the page, they are programmed to the buttons directly above them. This gives you the ability to switch between different modules or perform the function they are labelled as. When data appears at the bottom of the display, you are able to adjust that parameter using the knob directly beneath it.

In the top left corner you will control and step buttons. Here you can select between the two main Maschine modes. Control is the default mode to control beats and Step which turns Maschine into a Step Sequencer.

Maschine has useful Shift functions. Contol /Shift function turns the Maschine into a MIDI Controller. Shift/Browse function allows you to browse through your virtual instruments.

Sampling takes you to the different pages for recording, editing, slicing, mapping and adding dynamics to your samples. When there are multiple pages of modules and parameters, you can switch to them by using the left and right arrow keys.

Auto-write allows you to automation by holding it and adjusting any module parameter. There is also a note-repeat button that has a shift function of tap-tempo.

10. RECORDING THE ACCESS VIRUS TI SNOW AUDIO THROUGH USB WITH MASCHINE

You could record your Virus TI by just routing your analogue outputs into Maschine and sample it in but you can sample directly via USB.

With the Virus connected only via USB, in the first instance with the Virus TI software showing as VST in Maschine, change the Output settings to ‘USB L & R’ so that you can hear the sounds when you play your keyboard.

You can now press record and play the Virus recording it into your pattern, just like using Massive etc. Because it is a plug-in the Virus VST will map to Maschine’s hardware controller and you can record automation of things like filters.

OK at this point you have captured MIDI data. If you want this as audio data. If you go to Sampling and set it as ‘Internal’. Under Edit set it to ‘Sync’ and change the number of bars to the number that you recorded. Press play to start the loop and then press record as it comes around to the start. Once complete loop you will see the audio.

Once you have the Audio, you can then delete the MIDI data. This is essential if you wanted to record more Virus parts as you cannot do multiple channels. Remember with USB, you don’t have any control over volume but once you have your audio, you can increase the volume and add effects etc. You can also go to right hand side of the lower part of Maschine’s software and on the drop down menu that shows:- Truncate, Norm, Reverse, Fade In and Fade Out, choose Norm for Normalize and this will quickly make the sample much louder.

11. HOW TO CREATE A CUSTOM DRUM KIT WITH MASCHINE 1.8

12. HOW TO CREATE SONGS USING SCENES WITH MASCHINE

13. HOW TO CREATE SEND EFFECTS WITH MASCHINE

14. HOW TO ROUTE AUDIO WITH MASCHINE

15. HOW TO SETUP YOUR SOUNDCARD WITH MASCHINE

16. HOW TO EXPORT AUDIO WITH MASCHINE

17. STEP RECORDING WITH MASCHINE

18. SCENES PART 1 WITH MASCHINE

19. SCENES PART 2 WITH MASCHINE

20. INTEGRATE SEQUENCER WITH MASCHINE

21. HOW TO CREATE CUSTOM KITS WITH MASCHINE

22. HOW TO MAKE CHILLOUT WITH MASCHINE

23. HOW TO TRIGGER LIVE WITH MASCHINE

24. HOW TO CREATE DRUM VARIATIONS WITH MASCHINE

25. MASCHINE 1.8 SETUP PREFERENCES

26. MASCHINE TIPS – CONFIGURING AUDIO AND MIDI SETTINGS

27. MASCHINE TUTORIAL WITH FLORIAN MEINDL

28. MASCHINE BASSLINES AND CHORDS

29. MASCHINE – LAYER PLUGINS AND PLAY FROM YOUR KEYBOARD

30. MASCHINE – USING FM8, MASSIVE AND REAKTOR

31. MASCHINE REMIX

32. IS THE MASCHINE BETTER THAN AN AKAI MPC?

33. SLICING AND MIXING IN MASCHINE

34. MASCHINE AUTOMATION, AUTOWRITE AND STEP AUTOMATION

35. USING SATURATION

36. MULTI FX ROUTING

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