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Mastering The Maschine

Lesson 9 of 24

Building a Track from Start to Finish Part 1

JK Swopes

Mastering The Maschine

JK Swopes

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Lesson Info

9. Building a Track from Start to Finish Part 1

Lesson Info

Building a Track from Start to Finish Part 1

We're just gonna watch not build a track basically just try to pick out some of his different workflow techniques and some of the different methods of things that he uses to build track and you know, because sometimes just seeing other people put tracks together kind of gives you ideas in different ways to work so that's basically want to do then let not kind of talk about how he gets started with a track first like where you start now you don't really start to say a lot of time so how do you I usually start we're like a melody or like a lead or something like that like during the break I was just mess around keyboard don't find melody so they usually go set off uh track said it all for me to go in a good direction so used to start with drums all the time but now I kind of got out of that because it would always lead to something that was kind of real repetitive and you know, I wouldn't inspire to play stuff all over so basically how I set it up I just got this sound out of the alterna...

tive let me turn the model melanie I was playing just some simple yes, I like you about to take a little trap als yeah like like like someone in that ring right now right in that room but that you know that's not just hear that when I was playing I was like ok you know I could do something with this you know so I laid it down and well I'm actually gonna sample that into your using the sink recording so let me get my I'm not going to tap tempo well unless you have a shot at you say I'd never use you don't look you even know how sea you know you would just set your people like norman I want to try something you're going to like your finger gosh you know you know teo all right go said that make it maybe four bars oh I make it two bars actually because I'll probably mess up so I'll keep it like that so I'm just going to hit the start right before where I want to start recording so you told us go okay hee hee hee hee hee I got dead now so because the second part was messed up I'm just going actually just normalizes force when I got down things going play like that in second half was matloff you heard that right okay to go in latest uh make his pattern let's make this pad into bars for the sequence thing quantifies it e I'm listening to that I'm gonna go find a way find something actually uh turn off the mom sampling monitor excuse me and go and try and find some sounds like a uh I don't know we're looking for maybe like a bass come kind of bass sound you sure you don't lose your sample on that sea trials so you usually go from lead to base it just really depends on the feeling is that whenever you come up with first yeah you know because I just you know, some normal thing going so fast it's like I don't know you know how do you think about I just go but she liked being able to go through a lot of sounds quickly yeah yeah and that's one thing I love about machine also is that you cannot it's just it's just so the work flow so fair so get that ashley to deliver you know I'm ok fine machine base what's going on wait wait e put that down on my change the sound but for now I'll keep it in there like I said, I'll go through you know, it might not be too sound and s I don't know that's kind of weird but you know, it might be a totally different thing when I come back to it but I just liked it well, I got the idea in my head because it disappears fast for me, you know? I just I'll put it now and then maybe come back this I got it right e way this is before bars hitting record but present full bars all right I made this whole oh, I know that it's a bad I'll just undo that partner I want um actually made the pad and four bars and it was initially to, uh with that little seth line so what? I just I just instead of making it length nasa's two bars so I'm just gonna hit pattern and I was going to double the pattern so to repeat the also to repeat this part also now I can play not to play full bars of this and have that actually play for bars also. Hee hee hee way do now say you know I'm just going I'm going to the effects there trying find go through something, see if I can make that basting sound better since I'll probably will use it I'll use it now just to save time but maybe and some fixed it would have changed it up some so I just put this on here, ok, my brother. Thank you. You know what? You got the warden over me. I like that. Keep me in check. You know, anybody knows me knows exactly they don't go to a shelter. How does you know? Always I just wait every day I just started would have filled all the time you know, that I used to use isis river pinko ice I put them on everything and somebody, some people told me to start using it so people online and they do that they'll tell you that. So hee, I'm actually put the little past field to one, and I'm messing with the cut off, uh, frequency, and sometimes I just I'll play it along with the way you record that yes, is that sometimes I do or is that something you usually do? Kind of like do it live? Yeah, mike like when I want I don't want to get to beat down, sometimes I'll go back and just do that as part of because basically what is a what jake was talking about earlier was that what I don't like to use seems less so I'll just sit there and when I get to be done, I'll go to another pad and I should get then I go to another pay, it said said it to sample the whole whatever's plane so that when I hit play it's just basically sampling me and I'll do different things on it and and then I would stop. It would be like a sample, like a sampling to attract like a two track performed yeah, and even even if I'm like sometimes I'll play and I just stopped attract start up again, it just records all of that so it's like, you know, that's how I like to do it most of the stuff people have heard from you online ssc how did you know I might load it maybe once in a while put in an adult just maybe edit something right but that's just how I like to work like that but I hold the automation see if I can do this one won't weii obvious I think I will go to with this forest drums then I just feel like let me get a drum track down once again it might not be the thing I use that and but unlike while this is in my brain let me go ahead and my people thinking I forget fast but thiss I just ate away southern kids wait this might be one of the times I might actually make more than one scene you know in like this might be controlled way it just kind of show you with you first on the way what I do first is I'll find a snare like I'll just use this one right here and I'll go to pad my shift in paso it'll play on different notes so I could make pitches here unless you're playing different pictures for your you do yourself manually or did you do it would not repeat um you know, manually playing I go I go with uh I'll play like it might be like might not go down and they wanted to know somebody just just uh you know roll at the end but I just I just listen to what trying to find a way to be we're coming right um what I'll do is I'll uh I'll extend I just I'm actually going extend its just first saying will be eight bars instead of four suggested pattern you know that specifically because you like your intro to be that long yeah for the visionary like a bars maybe eight bars it'll be because it to me for bars it's too fast with the role of the company's good like build up late so I'll just uh what double that way you know what I have to do also in it is since I'm on another group I need to make this also a bars this our group b because I just did it because if I make it four bars it'll come into role whatever coming halfway there so I just, uh make this pan and just ways change I just changed out from the role from a straight one sixteen which is basically so what one a triplet you might hear that her dance a medium songs it's like way exactly you change change whatever change the world and talking wasn't tall like up change I went here and like if I wait this normal it would just be you can also you can also stick that page right? Like if you if you hit if you hit this or if you do it right if you do a shift no repeat toe stick it up there you get your way so now I just need to find out how you know I'm going to pitch it I might just go well actually what I won't do any snow rolls is I'm going to ask you going to pad mo and I'm going to get a fix velocity so it could kind of come in like that I wanted to play I wanted to come in like whatever whatever I had I hit you know, coming way halfway through that this is a way I'm going to do it I'm going to do in two parts I don't do it like I'll come back like I do one section and I'll come back into the next day we'll do that first one wait his last one I'm going to go mike reported it wait, wait and then out I'll come into ah I'll make the next pattern which would be e I'll turn this over to next saying so what I do like a second copy this over here I'm gonna copy aa plus pattern so it changes to a nuke everything will be new basically when I make a new scene instead because if I if I keep it the same, of course like like jay kay said earlier, you know, mess up right anything I don't know what you're really right so good from using the same e I told you wait ok, now I'm going since since it's on the second scene and I just I'm going to take this up this role part out and basically I just sit there he race events I'm just going to raise the whole pattern all everything is live so wait okay? And this one I want to start to claim to be just has come out with something way quantifies I mean like trying todo once again not repeat well he's no repeat so just trying find some way of doing that I'm just hitting different time singers with you customize whatever you wanted their exact down and changing if you want triplets or different time signatures wherever you want, you can put him up there and kind of switched rooms and I like because you know well, if I just play something and did it the next time I play it won't be designed because I'm just trying to go off a field here and that's what I that's what I really like I'm above a field type person so let me see I just put some down you may not know that wait now do you find any nobody time signatures that work better for certain you like if you doing trap is there usually certain once you go through it one sixteen, sixteen triplets very seconds you know because you know trap dutch that might have different you know doesn't get really glitchy they get to like sixty four some stuff so you find what there's some that were better depend on because you make a lot of media to so do you find it I'm going to different time signatures when you're doing that type of stuff or is it just depend on the track like I wonder when this type of bt shoes like one eighth triplets and I'll have it only one sixty four for that you know that I'm there and one eighth and it is really you know I'm starting to seem like they all start to blend together later different all right? You know the e m it's like trap and it's like I think for most part I started here produces they they just it's like these whatever time signatures feels good like they'll send it it'll be maybe you'd be wanting triplets one sixteen triple and and they just mess with it until it comes out so I can't really say there's a dead just pretty much use whatever whatever comes down so this is going mess with this stick this sound a little bit and I want to go go up get an empty slot he's shifting, browse and just uh I don't know I'm one of those go through go through the plug in thai people you know, I just I just go to the plug in and see what happens and if I like it you know I did it but can you do me a favor? Yes, you can you zoom that pattern out for me do you know I don't like seeing it like uh yeah there we go. I could see everything that was just looking at your way I like I like putting a bee delay on because it makes a move a little bit right? So so turn to mix now because this you know, e I just basically I just wish the scene to the first one at the end and you know, it automatically goes back to it'll go back to that instantly. Well, you could have in settings where each scene will go to the next scene you know, like if it's full bars seems four bars if you got one scene you want to go to the next, it'll only go to the next one after full bars or you can have it where instantly switches and just kind of yes, I have this going way just like that so that's that's another that might work in a live situation just to let you set up secrets which it seems like that what what is that setting? You know what this or is it is it is that they are you just changing the same grid you with a single you're changing that yes you had to switch up to point out though is what oh so is the performer's agree it so you got to set to sixth switching things so you can actually turn it off so it does so basically that performance that grid performers greed nothing right quick so that performance good you could see the different studies like he was saying you get you can have it set to one bar and that means let's save your outperforming life and you want to switch in and key which your what your deejay set up so if you want to kind of think and go come in one bar later to say you've got the same plane if you hit the next one is going to come in on that next bar he hasn't sixteenth so it's almost instant cause it's really just going coming on that next sixteen note you could also turn it off it's just you know there's no sink at all so that's that's what the performance great is it allows you to to determine how that scene switch between each other so it depends on what you want to do in terms of your performance and you put it on here yeah people saying it's just won't play that it's not going to switch into the whole scene gets done so let's that's just something to remember in terms of if you're doing any type of performance or anything. So wait what I'm going to go find find something else sounds wait, I'll play the track and I just and he gets the right ruling noise because I have the track plane but out here if if some sounds good this way, lady now uh wait to as he's going that's a tube are so I'm gonna go into record mode and sink to bars again. Wait, could you double what? You double it eight no doubt. Thank you. So the reason you're not prison record? You're not doing a kind of like a county it's because you don't want to record many notes on there you just want to record on that's why you have impressive record wait, wait! Ok, got it now wait, wait, wait this one a little bit. So go to santa school over to get teo filter. Well, tony district some people might keep the loathe messing with track way what I do is I want a copy this that's the scene copy did to the making of third pan and this is where I put this one somebody you seems a little different way, you know I don't want it wait years now reference to the audience here live I have reason to and so is reason capable of being routed through the sampler yes and no you need required for the u s there's a rewire v s t out there but it's only thirty two bit if you're not using machine and thirty two bit it won't work if you are using michigan thirty two bit it actually works it's called it's by um I can't think of the name right now if you just search every wire v s t it will come up uh I can't I can't think of the name of the company that makes it they also make a line energies there you go you know what I was trying to think? Yeah, they also make energy extreme um and this is the it's a real obvious team so you could actually load up reason kind of plug in and kind of, you know, sequence that you basically kind of treated as an external piece of hardware, but it actually wrap audio in the middie into there and you know, you would still have to re sample it to get the audio in there, but you can actually do that if you're using miss jean and thirty two bit on that plug in works it's not sixty four bit and I use sixty four but I know a lot of people are using sixty four bit nowadays, so you know, maybe one of these days don't make a sixty four bit version. I know a lot of people would like to be able to do that because it is it is it is the phone work, philologist. I don't use thirty two bits. I can't use that plug in, but yeah, rewire v s team will let you do it. It's really easy to set up to. Well, are you starting to bear? So I love that cop. I'm good reasoning and just don't. Yep, yep, if it this time line runs right along with when you have and runs right along with machines timeline. So one of the things we're talking about a machine to toys is like, you just drop a cappella in the timeline sequence of reason, and it'll just it'll play along with all you like, if you got seeing, is going for, like, three minutes that whatever you got on the on the reason timeline will play right along with it. So basically good load, aka paella in there and do whatever to wit in reason. And, you know, it's, just like it was almost like having audio track, right? Because, you know, we you know, if you if you have a machine, if you have a machine community, you you develop workarounds you know that becomes audio travis audio trace and develop working around with yourself and so that's that's one of the great things about plus the sounds and open so that it works well with definitely can rewire viste lows right up in this it's really easy to set up speaking of some of the sound bank so the chat rooms are wondering how much of these these sounds coming out of the box with machines money of the ad on so we didn't the only thing that we only thing that we added would be the user stuff will be fluxus kids you know, so everything that we've been using pretty much you know in this thing is all factory stuff that you get with machine so what this is for the court to see you get this with machine so they don't get the you get the hardware store with machine but you know all the sound you know, like you know, massive and all that stuff actually comes with the factory library so you know, all this stuff is we try to keep it focused on the factory stuff just to make it you know, relatable to everybody so what you get out of the box is what we're working with so you don't have to go you don't have to get extra stuff to get these sounds it's already and there's a lot of stuff in there I just hate that stuff offer here but I couldn't you know I could have got it out of here the same you know, same type of sound but I just just attempt just because I was going to break plan and I said, okay, I'm loaded and you get so many sounds just things like, you know, way always want more really yeah definitely one of the main things remember if you do buy machine is make sure you install the library this because you know, we've had we've definitely had questions ever since machine to came out one of the videos they say I don't have all those sounds and not just the complete sense of course I got pleading all that but just the factory sounds because it's separate from the actual machine installer so make sure you down on the dvd I mean make sure it's on the dvd it's like I want to say six point eight gigabytes or something like there's a lot of content in there so yeah, all these all these anytime you see us browsing and it says you know, machine or anything as long as we don't we're not in that user if you don't see us in this town then everything is coming out a machine I just scrolled over to uh just to find some voice vocal vocal things these machines wait you clean that's a machine recording wait all right, it's all this stuff is actually in machine there's a lot of stuff in there uh e okay um you make this a pattern aybar's also wait so kind of fact maybe an echo shift brows of course first I must go pitched up a little bit that sounds okay that's going to be so bad actually wait wait just wait that's a davis wait wait just like it's not you don't even really he was saying what he put it and is asked to do something back wait um I'm gonna go uh see these two sound because way sound copy I'm gonna make uh actually make another scene we see no okay just duplicate that last scene race it is I want I actually copied the sound plus the sequence of it and uh actually what I'm going to say it but for now I'm going to delete that particular sequence offer this offer that scene because it was both it was too open playing the same time so ask me when the cola okay, wait come back to this now I'm gonna mess and I want to mess up with this uh put another like a filter with you you could feel wait a little choppy exactly because I want to be on this scene scene three it'll play uh uh this one I want to put in effect on it on this particular sample so let me go, shit, but I want to do the, uh, try mess around with wait, right, okay, come on, I think, it's, confusing. Sometimes I will go back, and now we put the sound on there. What you doing, using that kind of give it a little bit of a gated yeah, yeah, I'm going to the gate effect, and it let me see. Wake up, thanks to the temple one one eighth, or you could speak way. Wait, wait.

Class Description

If you’re ready to take your production to the next level, join CreativeLive and JK Swopes (and guests Doug Lazy aka Knocksquared and Ken "Flux" Pierce) for an in-depth exploration of Maschine, the revolutionary way to sequence, sample, and add effects to any musical project.

Throughout this two day course, you’ll learn everything you need to know to take advantage of this unique, powerful beatmaking production system -- including its sequencer, sampler, and internal fx. JK will also cover the basics of working with Maschine’s extensive built-in library of sounds. JK will also cover the tricks and hacks that let you use Maschine to author your own library of sounds to use in your tracks. From fatter kicks to deeper snares, you’ll learn about simple tweaks you can add to any track to make it more complex and compelling.

No matter what genre of music you’re passionate about, this course will give you the tools you need to work effortlessly and innovatively.


George D

Even though it's a bit old now this is still a fantastic walkthrough of Maschine. Lots of great content here!

Joseph Castaneda

Pretty dated, but an excellent class. JK walks through everything he explains with thorough, real-time examples. Extremely helpful!

William Parmlee

Just what i needed, great work flow an easy to follow. looking forward to the next level . Thanks