![]() ![]() Or you can plug in a keyboard and play an individual sample in the more traditional way. In piano roll mode, when a single sample is selected the pitch changes according to which pad you pressed (so you can hammer out simple melodies with one sample). Once you assemble the group, there is a few things you can do: in the default mode, each pad triggers each individual sample (one for the kick drum, two for the snare, and so on). With eight available groups, each of with can hold up to sixteen samples, you should have enough sounds to get your ideas across.Įach sample in a group corresponds to a numbered pad on the controller's grid, for assembling drum kits (or any other sort of sample set) that can be played by hand. ![]() The sequencer in the application itself will probably be more than enough for a lot of you: within a few minutes, you'll be hammering out loops and arranging them into larger patterns. The best way to get comfortable with Maschine is to jump right in, in stand-alone mode. Besides the USB port 'round back, this thing also sports standard MIDI input and output ports. But in no way is this thing "plastic-y." The buttons and pads are solid as well, and don't have a ton of "give," which makes for a better experience when triggering samples than the chunkier, looser feeling pads we've seen on some samplers. The housing of the unit is plastic, with a metal faceplate up top. ![]() That said, the thing is surprisingly sturdy. (OK, it isn't just a MIDI controller, it's a hardware controller that uses a "high resolution protocol allowing for advanced control possibilities and full visual feedback," according to Native Instruments but you get the idea.) Unlike the hardware it was meant to replace, this merely acts as controls for the Maschine software residing on your computer. There is a lot this guy can do!įirst of all, the Maschine hardware itself is a MIDI controller - and that's it. ![]() And not only can it run as a stand-alone app, it can also be used as a plug-in (VST, AU, or RTAS) with your workstation. And the hardware serves two extremely useful purposes: as a live performance tool and as a way to combine the rough'n'ready tactile nature of a groove box with the power of modern digital audio workstations. What makes Maschine special, however, is its hardware controller that features sixteen velocity-sensitive pads, two displays, transport controls, and enough knobs and buttons to give you control over any of the functions available on the software side. It includes a stand-alone software-based sample sequencer, and through it one can program patterns, sequence patterns into songs, record and edit samples, and control your effects and audio routing. More than just a groove box, this is essentially the MPC re-imagined to integrate seemlessly into your production workflow. Maschine, however, takes this concept and throws a computer into the mix. Still very much in use today, the MPC is near and dear to the hearts of an entire generation of producers. Not only could one use this as the heart of their studio, but the thing could be used to construct the main share of an entire track, if not the entire track itself. Originally designed by Roger Linn, the MPC60 (1988) combined a 16 voice sampler (12-bit / 40 KHz) with a ninety-nine track MIDI sequencer that could control up to sixty-four devices. If you've ever been in a studio where hip-hop was being made, or taken in a live performance, you've probably seen an MPC. ![]()
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