Skip to main content

Mastering The Maschine

Lesson 21 of 24

Sound Design Techniques Part 3

JK Swopes

Mastering The Maschine

JK Swopes

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

21. Sound Design Techniques Part 3

Lesson Info

Sound Design Techniques Part 3

What? What about somebody that just wants to make a simple sub base from from scratch of their own? Is there any that's what I think something like that the way way forms that come with machine yeah, let me actually I'm going tio just go to a new project cool okay? And uh ah lot of us like to a lot of the sample heads like to just use what's called what we refer to as the low in theory, which is a very old technique and I'm going to show two different ways of doing it because I'm going to show the way that you could play it out and I'm gonna show you the way that you can sample it ok? So I'm gonna go to files I have some some different sounds one here uh somewhere it's just bring this up desktop and here we are so what I'm going to be pulling up right now is I have some different drum brakes and things that I had and I also have uh some some sounds where we're at here. All right? So let's say this gets our sound right? All right, so it's a nice little guitar loop um what I'm going to d...

o is just in the effort of making things move along so this sample is from fresh tune it's it's a library that's already out there basically, these loops are kind of like construction kits you can buy these for pretty much any sampler construction kits are essentially songs that air kind of put together and then they stem it out so that you can pull different pieces of it this piece is just the guitar of a track and it's already looped so you don't have to worry about truncating it and when I went into time stretch and then he had to think about it, I just time stretch apply and it put it right to the b p m that I'm at now so wait, so now it's a perfect loop and I didn't even do anything to really, you know, times directed and forgot about it, so let's say I want to turn that into a base, all right? I really like the groove I like to ki er but I don't need those frequencies I don't need it to be a pie because I'm playing something else or maybe I'm playing my own guitar riff, but I would like that to be my bass riff that's what I'm gonna do right now so let's go into it, plug in, I'm going to show in a couple of different ways and I'm going to do it pretty quick first we're going to do is with new plug ins, no new factory plug ins, no nothing just the sampler itself so we're going to go a little past too we're going to drop this down maybe like one hundred hertz somewhere around here and I'm gonna boost the residence a bit so that kind of punches through now if I want I can I'm just going to do this very quickly want a different a different group ok I have this drum break all right and let's go ahead okay so I have this drum break and I'm to do the same thing that I did earlier okay which is just make sure that policies on one so we're gonna make that pattern nice and short because we don't need all that you know I have this like kind of baseline underneath of it now that filter that I used to make that baseline is again it's it's a second order filter meaning it's not a cpu intensive one it's not going to be super hard court you can of course use the filters that are up inside of machine so when you hit the shift browse and you use the filter that's on here now this one is a bit higher quality okay so let me load this up and get to hear that I raise it yes I did did it again sorry about that let's get ahead shift browse fills her lewd here we are so now what I'm doing is we're gonna go here and we can play with the cut off so basically I'm only boosting the low frequencies here, okay? And this is this is just a very simple way to do it and if you want uh if you want to do that you can you can also kind of start adding filter on top of filter if you really want to go deep with those filters so let's go ahead and we're gonna grab another filter it's basically the same same filter except this one's going to follow in a bit so now just just cut off and adjusted to taste and then when this layers underneath of all your other melodies it's kind of boosting that baseline so without you ever actually creating a baseline you're just given it base you know, just like that right now what if somebody wants to play so you want to play a bit? I get this question in line just a basic sub base they want tio say and I don't have any plug ins and because I think a lot of people forget about the plane wave forms that come with machine well yeah and there's and there's there's a lot of ways to go about getting these so the basic hip hop so bass sound can be done in a numerous amount of ways I believe I want to get teo instrument samples I believe is under samples well there's both you got some understanding and you got instruments there actually way for is also kansas city's on which way you want to go all right, let's just go china remember exactly where single news that yeah, so even that right there is awesome, right? So I'm gonna lose this and then goes that goes back to what we talked about yesterday, that eighteen year old a machine you can automatically play on the keys already right? And it's just a single note and I haven't done anything to you that now I can do it I'm also going to bring it down a little bit now if you look at the way form, you see what it looks like and you see these the more round the wave shape, the more sub b it's going to sound the more close to a sign we've the less harmonics aaron there, the less brightness is going to be in there, ok? So let's just scroll in real close and what I'm going to do is I'm gonna I'm going to grab the middle of this all right? Because I like some of the characteristic of it, but I don't want the tail I don't want I don't have a lot I don't want I just want what I want I mean what I need so the important part here is to look at your way form closely, all right, this is a zero crossing point right here all right so this is where we're neither positive nor negative okay, so if you look at a way form away form is literally what your speaker cone is doing ok if you're speaker code if the way form is in the center here not positive or negative your speakers is flat how it is when it's turned off okay if it's if the way form is up high that means your speaker kun is pushed out if it's underneath it that means you're speaker cones pushed in that movement of air is what gives us some base so now what we're doing is we're just going toe sculpt this thing and I want so my end is coming down you can see how it's sloping down so my start is going to start by coming up right? So right like that and we're gonna loop this and I'm actually going tio goto my soon active on and I'm not saying there we are here and here getting pretty close and we want to turn eighty s r o because if it's all in one shot it won't look so you need so now I have this very basic sound and it'll it'll it'll stay on as long as I wanted to let me actually turn it down a bit and again it's important that you usually gets hard tune or something if you really want in pitch aa lot of times guys will just do it by ear because if you're not even using a midi keyboard you would go into pad mood you know and by being in pad moon you can go down and active so pressure well the quick pattern for borders way have a sub base you know made without much work you know I mean really oh you have to do and you can do that with any sample really that has kind of a sign we have characteristic of it eight oh eight bass drums are great for it so there's a million and one in weight libraries out their machine has a million and one different eight awaits inside of it so eight awaits our really great for that because you know you might already be using the eight await kick in your sound and your b and you know that's going to match up perfectly with it so if you want to drop that a two week really heavy think then you can do that you know just super easy way of doing it right that kind of touched on what you're talking about this okay, so um how we doing on time uh I think we're getting you never getting we're getting pretty close okay so let me just show some very quick small techniques on how to make things interesting so what I like to do because I get really big into making beat sound unique to myself is you know, I go out and I record sounds s so what I'm going to do now is going to the user, and I'll show you an example of this on dh these were created using primarily machine as as the main source. So this is the dystopia expansion, the's air. You know, these air regular drone hits right here that were recorded on process. They're different here, but we can get into some kind of like these sounds are recorded in in just strange spaces, you know, and you can do that with machine easily. You can even take machine on location if you have a portable interface and use it as your portable field recorder. So let's load that for a second and just kind of take a look at what we have. So this is what I call a scenario, but it's, actually a found sound. So this is something you have a question, you're according to sounds, what do you weigh? Equipment are using to report this? Depending on how loud the sources and depending on what's, you know, entailed like whether it be a drum kit, whether it be, you know, a slab of metal dropping out of ability, you know, it's going to it's going very but I like t I always keep a zoom each for and with me, because it's just compact the mikes on it or good, and it has xlr inputs, and as long as you've got xlr inputs, you can pretty much plug in any mike that's going to handle the higher spl on dh the pre empts on its sound decent enough, you know, it's it's pretty straightforward, and you can color that later. Of course, if you're like, ah, like on location over here, use that as, um, as your ah, does your audio interface, you can use it, his audio interface. Also, I use a mac, and honestly, when I'm just traveling around with machine, if if I am not doing anything to intensive, I can use the audio interface it's built into the mac book pro, and it doesn't have any problems running machine at all. I use it tio to basically send audio out of it, but unfortunately, the mac book pros now don't have the line input. So my older mac book pro my o eight, has a line input on it, so you could actually use that whole interface you could sample right into it. A lot of the times, like joe was saying, I'll use my phone going to youtube, look up, george duke and sample ups and some funk you know, and I'm happy a rest in peace by so s so when you're using machine it's very easy to just, you know, sample of and then you khun edit your samples on the fly with it you know, if if you're sorry, let me get back over here so if you are sampling sounds and then stacking them this's near here and then we'll just grab thiss one here, right? So all right, I have these two sounds together, I'm gonna pad I'm actually I'm not even gonna paddling because I want a little bit of variation on him and this'll when I'm pitching down, all right? And I'm going through the filter over here I'm just doing this quick so now I'm getting this this sound kind of melted together on then I'm just going through one last piece on here I got here on then on the top hat here sampling record gonna go internal, I'm doing master because that's all all I even need because I'm just hitting the same ones and my detect I'm going to set it really low because I want to catch all the sound and I hit start and I'm gonna let it just kind of relax and hope and then I had stopped now when I look at it that's that sound right so I can take it and I can get the end right where I wanted to bring in a little bit so sometimes what I'll do is when I'm doing this I could apply I'm going to normalize this and you'll hear how the end cuts off really ugly let's fix that all right so we're going to go to the end here all right and sometimes it really all depends on how it's working for you you can you can start your fade out here we're here I'm going to just go to fade out on the controller so I'll hit apply and now it's going to fade out so now I've got this new snare crackly we're all in this that's all one sound and it's very easy to use and then of course and that that snare right there is something I would use and joe would be like yeah that's too dirty but it's myself and I like it you know and that's that's what's so great about this is that we can just instantly dive in make our sounds are sounds and continue forward it's it's all about creative expansion anybody got any more questions? We got any internet questions where floods before we I'm starting to like this section we had a you know whole like questions for flux specifically and it was nothing but just comments like wow thank you guys a man like you just it's been truly amazing there

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