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Mastering The Maschine

Lesson 10 of 24

Building a Track Q&A

JK Swopes

Mastering The Maschine

JK Swopes

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Lesson Info

10. Building a Track Q&A

Lesson Info

Building a Track Q&A

You have you have this built up and you've only used how many scenes did you use total three for four okay so when you get ready for your m c to be on it how are you putting it into the entire track? Okay well like I said like, you know, flood flush uses a lot of scenes I was looking at last night he's kind of inspired me to really try and dig into the scenes and trying to do but for the most part like I like I do now I still just makes it all down to a two track and then if it's four and I'm seeing somebody might put it in a dog and then you know, because there still are going to sink at the same time like if this is a one forty these for a minute I just set my daughter one forty and it'll all sink you know, once I dropped the once I dropped it to track down into a dog so I can cut anywhere and arrange different things and that's how I would do that you know, you know, until I really get into doing scenes like if I if I knew the scenes where I would just send it up to here so you're s...

aying you you're doing like the final arrangements will be done in your doll thabeet arrangement is done in machine it was like a skeleton and then when you want to do your final arrangement, you're making it down to a two track to itunes right and that's on lee that's on lee if I'm like sending officer my toronto one or some of it's just like a beat that I want I just want to do it may be trying to sell or just play you know, I just I'll go from whatever I did hear you know what I mean? Because I know when you when you get into doing the, uh for a rapper or are being whatever you have to, you know, going to format, you know, intro outro everything so cool looks and coarse and personal and so that might be that that kind of if I if I was a dude that live that would that would kind of I don't know what the word is can put me in a box for a sec because then I'll be thinking, ok, diversity just come here and hook has to come here and it's just so it's so it's so did the the popularity of the mix tape and people have taken to traps and rapping over it makes it a lot easier for you too people rapping over to track so often now that it makes it a lot easier for you to just just edit it and you know and if he gets deeper like you know personally, you know you don't want to do someone that you know let's do something you know I'll go back and I'll separate the tracks and very right and then you know, you know, I might I might put it all in a dog that you know, I might I might separate each one of these tracks and put it all in the dawn and arrange it like that, you know, he's only do that if necessary on lee, why somebody really talking about exactly exactly and you know, it's and it happens, you know, after you know, fortunately it happens, you know, forcing we don't have to do that sometimes, you know, if I've never had to do it, you know what? Right? Do anything a s so, you know, basically o well, we do now I'm just going to go toe go to track or just were you know, yeah, this kind of show that process of how you set that up to you, ok here's a question uh, so for your workflow before he did, you know, one scene was just one scene usually did and then just multiple patterns and then you would just take individual patterns out input min your d a w and then organize that or how did you do it before, uh, like lower if I just used, um you mean taking like separating the tracks and how did you you said that he inspired you to start using doing the same for you what what what what was your way of like did you just do one scene with multiple that's except one and then just drop individual patterns and mix it all up in insider d a w exactly you know? Or actually just like us out I'm recorded I recorded as a sample in here like like it'll be one scene and then I'll just be doing different things live on the fly and because this recording machine is recording itself as a sample when it's done, I had stopped and then his his is basically what I'm giving you is a sample, but it looks like just like a it's like a two track track. Yeah, yeah, right, right, right. And I just basically I'll go to I usually just go to the last group I goto group h so when you when you do you know how it's like how long can you, uh, record samples as long as you want and you know, so you know you're not you're not a friend a certain amount of cars no, no, much basic you and when your computer really? Yes, but he basically he's basically turning machine into a hard district quarter yeah and capture in a performance so you can so you can go through and do in capture all the mutants these capture and everything is just it's recording toe audio it's not it's not captain his many he's basically just like if he was up on stage performing and you had a two track recorder digital recorder captured his performance that's pretty much what he's doing internally in machine just captured his whole performance and now he has a two track of his performance which is cool and definitely for a lot of people that do live like I know you do it you do some d j stuff and you know some live stuff so if that could be useful for you if you kind of putting together a little set like one of practices that kind of you know track it out and taken in car listen to it's the out sounds you know you just captured at all that whole performance you know you're if you're moving your filters if you're muting if you're changing scenes whatever you're doing it's all any audio this this being heard is being captured into that final to track sample basically it's just a it's a two track tisza steri away file so yeah so you like uh you like move when you're doing that you just moving super quick in between patterns and all that how do you like keeping yeah just crazy on it you know just on a floured type for you know yeah, I love and somebody thing it's not like some of like I've never seen you so you know, every track I do I just when I'm doing that technique that I'm not you know, someone just like you here I'll stop before second put a filter in and then when it's done is it's the to track you know, I have finished and although another thing I do sometimes is how how I'll do my thing say it's maybe three minutes of doing whatever and where I would have stopped I'll keep going and I'll just let certain parts played by yourself or you know, different combinations because the way I do it of course when you mute whatever mute that's stuck the way it is because it's audio but when I put it in a door I might go and find a section later on that that what I could say what can we cut that and put that here and it's just like it just says if I got that you took was able to take the mute off we'll put it on so basically you captured it to track and then you leave yourself some stands right inside of you know, someone you know and it is or, you know, stands or like, different like different variations, I might just let let particular to particular things play for four bars into other days play for four bars and so when I loaded aiken aiken, maybe I got more choices when I put it in the door and you know, I could just like, take sections and move things you know and that's that comes from your audio you're just you're broadcasting experience and you know it's it's a fun way from I like to do it, you know? And I don't mind a process like I say, you know, sometimes you have to go back when somebody wants to be there's something you have to go back and separate everything but I really would have no problem is so you know, this does not work to me it's never worked in the semi says may I need you separate all those tracks because I love doing it just never works I'll sit there from ten hours or whatever and it doesn't matter you know what I mean? If if you know if someone is buying a track for me you know that's that's a blessing. So you know, and I mean, I mean, I just love doing this so you know and I never look at it is you know, of course you get tired whatever, but it's not like well, like the one this you know, it's never like this now, there's, some shortcuts that you employ when you're going into that process, like I mean, you basically, like, set up your whole your set of scenes there. But then someone saying, hey, man, I love this track. I want to buy it for me. I mean, is there any good way to kind of, like, dig out the information is separated? I mean, aside from just basic exporting each track, um, basically, I just, uh I just wait. You mean, like, like that? Have it the same way the person wanted by william particularly I mean, in that process, kind of like once you get your track said, I mean you that you're happy and machine and it plays to track when you do, when you're asked to have it separated, are there any kind of processes or work flows that you know, you find it easier than other? Or is it just spending the time just kind of pull it out one by one? No. Well, you know, you khun the way it is now, and you can pretty much. I mean a lot of trash you could just separate you know the way got me shake more export you know, it's not like you have no one at the time, you know, it doesn't take long to do the exporting is not a problem could that you could export a lot of stuff at the same time get that ranger just get the rain's been loading in a dog. All I do is I sit there and listen to what I did once I got every track in the dog I'll sit there, you know, obviously the fastest uh, dog that I that I would like to work with when doing stuff like that is f l studio in nfl studio a studio lot and studio wants giving in on I put in there and I just I just listen back, ok? I had a filter on us so whatever I might use some of the plug ins and the dodgers to get that same effect or whatever but it's just when I'm done it's just it'll be the same thing I might even you know, you know, you probably go through the same thing, you know, my spice it up a little couple of things here, nick, you know, and you know, the person buying and he's like yeah, you know, so basically one state when somebody buys that you just go to the file, export all your tracks and then arrange it in whatever don't want to give it back exactly vicious just another stage it seems it's not just as you like but like I said it's not it's not it's not it's not work at all you know like back in the day you know I don't like to use the back in the day thing so but back in the golden yeah no way no way back in the day you know, we people had to separate tracks you know? You had two separate amount and actually go and sink you know, as you know, it wasn't like all they want, you know, they're playing at the well and then you know, so I'm like, I mean, we got it we really gotta easy these days and also I don't this is no problem, no problem, no problem it also still in the chat room that mean kind would lead now from that your in is asking can you show us transition effects in between scenes kind of automation solutions? And there is that possible between scenes you can't automate between scenes, but I think we kind of answer that earlier because the the automation is going to be per pattern we'll get into some automation stuff as I said the first statement tomorrow is effects automation we're going through some stuff with that, but you can't can't really automate between scenes you can kind of try to make two different patterns and you know scenes and it is pretty much a pain in the neck is what it is, so and that comes back to the ranger in machine and a lot of this morning more than linear workflow because then it would be easy to do those type of transition of fix between things. Now you could do some type of stuff, right kind of deuce and maybe some filter cut off and have it go towards the end of your pattern and then kind of shot, yeah, and then kind of but it be honestly is easier to record yourself doing that and do it as a sample had been trying to automate between scenes you just really can't there's really no easy way to do that. The best way I can say if you really want to automate between scenes low machine is a plug in your dog trigger your scenes either via program change or many you can record that data in your dog and then that way you can actually do your automation in your transitions inside of your dog it's much easier to do inside of a dog they're trying to do any type of any type of automation between scenes in machine is going to really make you probably throw it at your cat or something so yeah I mean, honestly, so if you want to do stuff like that, like those type of sweets and once you get those samples, but I think he's talking about transition affects kind of like actually automating your own, you know, effects kind of building your own transition, right? Maybe a filter or a flander or some type of phaser suite at the end of, you know, like in just the last bar going into the next one is going to cut off at that that last because it's only gonna be for that pattern is just going to restart in the next one. So beats had a question about when you export the sounds. Have you noticed that they export pretty hot and is there like, a limiter on the tracks when you export and lycan, do you normalize trump? Don't normalize, dolly say, do not know if you just leave enough headroom running teo, and and also you kind of try, try, try to do that personally when I'm working in machine, I kind of leave my master favorite at negative three d b and kind of there's just a habit from this don't let a clip, yeah, yeah, pretty much, and then, and even if, like you like flux was talking about with the hidden room there's a lot of head room on the on the sound and the group level but once you get to that master level with fast going in the red and you exported as that like that, then you're probably going toe run into some of those you know, square ways when you're looking at the sample and some clipping and stuff like that, but as long as you don't normalize, I wouldn't say it shouldn't be too hot for you unless you got some kind of weird ratting on with maybe maybe you've got something rounded to you're absolutely right it's kind of folded back into itself or something like that, but other than that, it shouldn't be too hot if you're not normalized if you normalize, it definitely can can come out too hot, but I would say, you know, kind of just mine mine that mind that master fader and and having that makes your machine really really helps a lot now because now you can actually visually see, you know that mixer and those those channels. So, um yeah, just just kind of mind your levels don't don't put everything at zero you don't want everything is zero because then you're not leaving room for anything else if you're trying to give it to an artist that they have no there's, no room above zero, you can't really it's not like analog or even kind of push stuff and you know, kind of clipping and saturated and it sounds good like if you leave no headroom form they really they have nowhere to go and then they were just kind of trying to wrap over but you already have it normalized at the peak and now they're trying to wrap our seeing over that so well, I mean I highly suggest not normalize when you export unless you just really this is unless you just recorded it really low or you know, like a two track and kind of recorded a low when you want to bring it up a little bit but I don't know I just normalizing your final product is not something I recommend it all and then if you I mean you really don't want to normalize if you're trying to makes it after that so if you're if you're normalizing your stamps they say you know, because for me I'm one of those guys that as I go along I'm adjusting my levels and you know, you know, I got maybe about this lower in this pan is this isn't that now if you go in normal lives that is going to bring everything back up you know, and then so that stuff that was low is going to add noise to it and then you just all that time you spent kind of getting your levels right is pretty much gone because you just normalized everything you know, and if you're trying to take it out of machine to mix it, then you really don't want to normalize it, could you? Now you're just you're just mixing pretty much zeroed out tracks and you, you know, then you get into flux you're talking about with, you know, compressors and you're trying to have effects of different stuff and you've got everything so loud that, you know, so yeah thiss stay away from that normalize if you're if you're really trying to, you know, separate your stuff out and put it in a track or different stuff like that, if you I mean, if it's sze first off final fire, if it's just something that it was your son, did you really just want to listen to, you know, maybe put on sound hot or something? You just want to listen to the master, you know, the master tracking what kind of normalize that could maybe it's kind of a little low, we just want to make sure has a full vying to listen to it could be cool, but just trying to do some comparisons, really, because it is going to affect each type of track differently, you know, some tracks khun khun benefit from normalization, a lot of the music today, especially when you're dealing with electronic and urban it's really? You really don't want to do that was going kind of smash it. And not in a good way to make it is too loud.

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