Mastering The Maschine

Lesson 13 of 24

FX Routing and Automation Part 2

 

Mastering The Maschine

Lesson 13 of 24

FX Routing and Automation Part 2

 

Lesson Info

FX Routing and Automation Part 2

So ok, we got this basic uh, basic little track and what I'm gonna do now I could do this directly on the group or I can do it, you know again with his own group, I know a lot of people like putting their fix and its own group it just gives you a little bit more control, but again, you could put it directly on there it doesn't matter on for this one let's say I'll just again you can you can kind of see where my preferences when I'm doing automation, I'd like to use his own group because it gives me options with the patterns and you know, it still gives me a dry, you know group from my original sounds, so for this one, I'm going to just go and I'm gonna load the grain stretch so great stretches is a really cool plug in again, this stuff is directly it's not a machine and we're just going to make it a little we'll make a pattern just that size actually will just make it will make it to two bars five so to bars to make it the same as as what we got going on and then now I'm gonna go in an...

d say this plan was in this here and just just to make sure you understand you can also do all of this routing directly from the mixer so if you prefer to route directly from the mixer as long as you got your I o showing and you know you're plugging the stuff you khun route whatever you want you can see I can do all the same rounding directly from here so just to make sure you understand that part so so as you can see this one has an on off switch so what I want to do tio create his tapes that which is really easy I can actually just say um come down here and adam modulator and you could see where says grain stretch and the main options I could go down here and say on and now this is going to modulate my own and off and let's say we want it kind of towards the end so you want to make sure this is on here and you could see I just threw that right there a little little thing so it kind of is going to turn it on there but again you can just do it this way as well so it just depends on how you want it so we'll do this I'll just modulated on towards the end using the auto right there so now it's on so now what you want to do is I want to go in and modulate the pitch and what that's going to do is it's going to kind of give me a little bit will just I'll let you listen to so so it's kind of gives you that little of course I could do it faster I don't really have a lot going on in his tracks that was kind of it's kind of hard to catch it but you know it gives you that that slower so you can do it yourself so again really, really ah built in effect but you can actually go in and make your own you know, tape stopped and another thing that's good about this is they're going to be your home if you get a plug in air by this using that plug and is kind of gonna have the similar especially when you don't what effects not so much? Well even when you're dealing with instruments you know you're going home and I know that plugging it in that sound when it whatever so it's gonna be the same for, you know, effects plugging is if you're buying into effect that has certain glitches and certain type of, you know, tape stops and pauses and stuff you're going to start recognizing it because a lot of people are going to use those process to do it where this way you can kind of go in and do it yourself even if again if you don't wantto do it manually with the holding automation down and turning the pitch you can go in and drawn in so I could say um well, go here and for grain stretch main I'll go with the pitch and then I can actually go in and draw that in a cz well and I'll just make sure mind it is off and I know it's at the end so I can just kind of do something like that and see what it sounds like so really I mean it's just again it's just really up to what you want to do and how you want to do it so I get really really cool stuff really simple stuff, but I think a lot of people don't dive into the information because you may not, you know, just fully understand exactly what it is you can do with it but it's really simple there's really no rules, you can round stuff wherever you want and you can really liked being around it to different groups and setting up those patterns because again, remember, just like the patterns we did earlier, I could do patterns here I can, you know, have, you know, have it speed up, you know, slow down and I could switch between those patterns and I can mix there I could mix all this stuff what other fix? It doesn't have to be one effect, you know, you can change as many effects as your computer can handle, so you can have just crazy type of multi effects going on and then use those patterns to sequence on either for performing live or sequencing it out in your in your actual scenes in your arrangement so you can have it going along with your different parts of the tracks. So definitely some cool stuff and then listen, do I want to show you how you can use step sequencing on a like a more? But I'm in a lot of sound, so we'll get rid of this. Just delete that no, lo like some type of instrument, get me like a b p or something. Well oh, that started group in little debt here that got a little bit of movement and that's what we want something that's a little little more plain there's something like, we just had a really basic pattern for this. Uh, it will do to bar. So wait, we got that in there and then now what I want to do is maybe I want to add a filter on it, and I want to kind of give it a little bit of ah gedi crazy phil therese sound, but I want to do it in steps. So what I'm gonna do again is what does go over here to a shift, browse I'm going to add a filter, you were gonna load it and now this one, I'm loading directly on the sound, and I just wanted I want to have it directly right there on that sound. So now I go back over to my filter type, and we'll say, leave it right there, and now we're going to my step these cords were showing up, you know, as they are in the step sequences sofa hold this one it's gonna be the first one that now I can just do on the fun thing about this is you can't even touch the parts that don't have anything on it, so I'm just changed. As you see, a swish is just going through the different parameters that don't use it, but the same I want to just do, you know, all the so basically I'm just adjusting the cut off and steps and as you can see, then there's the residence so you could see which ones they are right there, resonance and then your filter amount and as you look at it, see that cut off. So basically, I got it's pretty much like a little I made my own step filter type of thing. If you listen to it on, if you don't like it, you can go in and justin, wait really up to you so that's again. I really want to stress the step sequencing of the fact that I don't I really don't hear a lot of people talking about it and I think it's just one of those things that really gets overlooked, but it can give you a lot of control over your effects in your automation, especially if you want to make you know, a little bit of movement going on or you want to automate stuff on it off really easily or maybe you're doing a reverb and you kind of want to really control the tale of the reverb you could just go to each step and kind of gradually turn it down exactly how you want it instead of trying to do with the knob and maybe you know, as you saw it when I did it with the knob towards the end, if I didn't turn it all the way down before it looked over it automates is still on at the beginning and that's not what I wanted, but if you go in with the step sequence sir, and you kind of automated step by step, you definitely know when it's on when it's off and it gives you a lot more control so in question so far there I wonder if there's a question from the internet here well known tone twenty three wonders if you can automate third party effects and yes, this yeah you can automate any anything that shows up inside of machine you can automate it if there's a if you see a knob for it you can turn it and most of the third party effects and your third party plug ins were going to be automatic inside of machine they'll show up I mean we didn't we didn't we didn't get into you know plug ins and this and this course we're trying to focus on machine but yet you can definitely anything that shows up in machine can be automated so it's not just the internal stuff we were just showing the internal stuff just to make it a level playing field because some people have times of plug ins some people don't but the common thing is everybody that's using machine has this stuff but what we're showing come work with plug ins as well everything that we show pretty much you know when you're talking about automation and you know layering all that stuff you can you can do it with plug ins as well so you know the same thing with layering you know and your drums if you have a drum since plug in that you like you can put that on a padd you know link it with your samples in layer it still is the same thing you can automate your third party plug ins and effects that tze just a simple too can you maybe a lot since we did load in the the complete what is it called think we did a complete selection complete selection that comes with machine or even massive uh would you mind showing the automation on that yeah yeah we can show that listen tio we'll do one of the effects I think we got the machine effects in here so let's tio maybe like prison see what type of effects we gotta here we'll see what this sounds like ambien bail so don't throw that there and as you can see the all these parameters show up now you can say this you could just imagine this is a third party plug in it's going to show the same of course this is a machine I mean a native estimates plug in but it's not a you know a machine factory sound it is actually a plug in it is going to show up the same and again if you look down here you still have all your parameters that you can add and it's going to show up so reactor effects and that you know I got all these parameters did you can modulate so anything this shows up in there is gonna be modulated ble let's hear what this sounds like I don't even know what this is gonna sound like right now and so it could be pretty fun so let's go so the group and that I'll put we're going to send it right there and we're gonna see what it sounds like I think this type of stuff flux that you take a drum loop returning to something melodic so yeah already seen his ears perk up when he kind of started smiling at the corner of this the type of stuff he does and we're definitely we're actually getting ready to get into some of what he does but again, just to show you that this actually works. So wait, so again I'm going to modulate this so that will be the same if it was that will be the same if it was a third party plug in because again, mostly in third party plug ins when you load him, they're going to show up here. Now, the one thing you definitely want to remember when you're loading plug ins and you want to automate him, make sure they're in that that you killed him in that first spot, you know? So you can actually, so don't show up when you want to route to a separate group. So let's say if I want to route this to a set from when I load my effects in a separate group, you have to have something on that first slot for to see it so again, but yeah, it works just like that all this stuff works with third party of fix just like it works with internal machine effects. Same way. So I've got a question for, like, work flow out? No, if he is, if if you guys have any, um, say like, any input on it or not, but like for workflow wise, uh, can you choose? Like, if you decided on a pad a you want to put effect of those effects on pat eight gonna tie in with pad ones effects and they're all going to come through, you can do that, and I'm saving that I could show you that, but I want to leave some stuff reflection, you that's what I was talking about with multi effect. So what? Essentially what you could do if you go into your rowdy let's say you have a crazy affects chain on pad one and you want to send that affects chain into another pad, you consume the output of that pad to another pad, but are they? Are are they all like? Are they all? If they're on that group and you have a group a tied into group b are all the effects on every pad being fed back to the drums? You know, like like, are all like this? If you have pat a for instance, you have, ah different effect right, so if you're saying, if you so you're saying if you, if you have ah, if you load a specific effect on your share but that using your whole group toe in effect yeah, well, you have groupe sent to group b, right? Right. Um, so in if, uh, do you have something like pat a or you have effects going from one through fifteen, however, are one through fifteen all getting triggered? It depends. It depends on around. And so right now I'm saying it because I'm actually not sending it to the group. I'm sending it to a sound so let me show you the out showing the output this group if you go over here and you look at the output is going to be sound one it's not going to actual group, right? So you want to you want to load your if you wantto sequence in route your fix, you want to load it on a sound you don't want to load it on the group level, so and so you could see you could see it's only showing up this one because that's the one I have something loaded on. So if you had on a t so I had a nationally known pat eight, it was saying instead of b one sound one it would say be one sound eight and but the thing I was saying is, what you could do is because set it up like this and have it create a multi effect where I could sit and into pad one not gonna have a chain right there on pat one, but then I could send out, put a pad one toe pad to and have a totally different set up and it's just going to flow through that change. But again, that's something I want to save. So I'm gonna let flux show you that is really some cool stuff. And and what was been official about it is in machine one. It came with a lot of multi ethics, and you could save and load a lot of multi effects. And if you notice there's usually no multi effects presets and machine too, but it's, a lot of people think you can't do it, but you can still do it exactly the same way. I think. You know, people assume that you know, just because you can stack unlimited plug ins on one pad that's enough, but you can really get created. If you start building multiple effects that you got multiple effects change to remember, you got unlimited effects that you can load on any sound. You can load as many as you want on that sound one and you say ok, I got that but maybe maybe I want to tame it a little bit maybe I got a bunch of crazy stuff going on that I want to send it into a subtle compressor I had to so now concerned that output from pad one to pad to do a compressor and then maybe a lion you know, in the senate the president I kind of want to send it through something right now I want to make it crazy again you could send pad to to something else and then that you have control over each of those chains into those pads and there remember you could have patterns for each one of those sound each one of those multi if each one of those pads gonna have their own patterns each one of those sounds like we show where we were doing the different patterns for the effects each one can have it so you could have different effects chains on different patterns in your group I mean on different sounds in your group different pants pad one can have maybe your filters and you know some delay and then pat too can have a reverb and of course and then pad three can have your favorite third party glitch plug in, you know, whatever it is, you can do it this was a question from the chat room. Tio well, was asking kind of on that same cap. If you get let's, say you make all four of those, you know, different pads, but you like the third one, I'm like that's the one, and I kind of want to preserve my sixteen pads, eyes it basically just exporting that automation and the whole thing to keep in a one pattern how's the best way to go through the work flow kind of just like this is the sound I like, I'm going to set it up and then I'm gonna keep moving through that's again. I'm going to say that one perfect because I want I don't want to take I want to let him show some some stuff because we share a lot of the same information, but he has cool ways and showing some of that stuff, so I will I want to let him and I think that's a good segue way, actually for bringing flux up. So, uh, I'm gonna I'm gonna clear this pattern this project out as flux comes up here and he's gonna get into a lot of the other stuff that I was talking about with the multi affects.

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.

Reviews

alucard
 

I think It is time to do an update to this Class, Maschine have gone to an all new level... It will be nice to have JK Swopes, Knock and Flux, giving and Advance updated class of how much Maschine has grown up.. ~Dracula NoRelation

user-3c2ae1
 

Update please!,,