Mastering The Maschine

Lesson 6 of 24

Using External Sound Modules with Maschine Part 1

 

Mastering The Maschine

Lesson 6 of 24

Using External Sound Modules with Maschine Part 1

 

Lesson Info

Using External Sound Modules with Maschine Part 1

This is for those of you that have external equipment that you want to use with machine, which is something I do probably ninety five percent of the time so I'm going to show a few different ways in a few different setups a lot of times we get questions on people, maybe they're coming from like a motif or a phantom or, you know, some kind of work station they want to use that in machine and then they actually want to get the sounds in there so the ultra nova set up as my many controller and I'm gonna use it as a sound source that I have other stuff that's just external another stuff that's just set up the admitted so the first thing I want to do is show you how you can use maybe a keyboard or work station or anything that's your many controller but it also has sounds and because remember, you always have to re sample you know, to get those sounds into machines that we don't have audio tracks you want to re sample it. So it's a really basic set up already set this up as a mini controlle...

r, but I want to get the audio in there so what I want to do is go to the pad that I'm on or the sound that I'm on and I just want to turn it on so I can receive my external input knocking here on base that we just record as if I were using a plug in or whatever but the way this works is since I have this already set up as a mini input is going to record my many notes for me and then it's also I must set it up so it's also going to trigger this sent via the media notes so it's kind of like setting up a loop but anyone this this familiar with working with hardware sequence was pretty much the same way you set it up as an input so records the mideast and then you want to send a mini back out to it so basically what I'm to do already got the audio coming in actually just go over here and set it up now we just go to the output and go over to mickey and I'll just send the destination too whatever many input this is hooked up to since this is his own midian put it shows up as the ultra nova so so once I start recording many if if only some down it's gonna actually trigger it for me then I'll kind of show you how to get that back into machines so I just play around see if I can come up with something really simple toe what captain while attempting to use that all the time so it was doing like a yeah I do like a four bar so as you can see the difference and work for what I usually just do my patterns this is just I'm so used to it whereas not kind of the quick the quick pattern creator so I just do it this way so it was just let's just see wait longer do eight bars plan you know, I got the temple kind of going faster but I'm playing slower just kind of like double time but I didn't like what was going on I see why they say I'm not a ranger I did it when I did my recording I undid the change of the pattern leigh that that plan c is playing back so now I want to get that into the shore I mean, of course I could go in and do any due in in terms of maybe if I need to fix any notes or anything but I say now I just want to get that as a sample directly back into machines so you going to do it in the same group or you could just go to another group? I just sake over here to this group here and what I want to do is in a sampling we're going to record I wanted to be on stereo external I wanted to be sink and now I'm gonna go and set it to eight bars so now it's going toe sample automatically for me eight bars that I just played so solemn medical re sample what I just played into machine so you can either just press play or to account in or let's say, if you kind of playing with the track and you got some plan, you can just start it, like, check this out if I'm just playing start now, so now you can see actually, I'm a sample in here and that's pretty much how you gonna beat up, so you're basically gonna want to sample whatever it is you're doing externally. So again, this one is specifically if you have something that your many controller and you want to use, the sound from it. So you get a lot of people that they buy machine, but they've been using a phantom or them using a motif. I mean, I got a lot of sounds in that sense that I want to use also want to use it as my many controller, how do I set it up so I can record that stuff in machine and then actually get the sounds in there, and this will be it. The main thing is, you want to make sure you get your mini set up properly, so if you don't have a usb device like it like, say, a motif for an older multi force, just many whatever many input you're using to connect to you computer that's what you was set up for the output so let's say if you have like a mini interface like a mini sport or you know old mo to something or even one of those little mini sport who knows where you just kind like a usb and it's got many on the end whatever the many interface that is connected to that's where you want to send it to so as long as you have that set up in machines settings for the input and the output you'll be able to do this so this I would actually go in and probably so just normalize that and then what I like to do with this is I just go into this group here and again I'm going to make a pattern making eight and then I just liked to draw in my drawn it notes so this is basically how I get around audio attraction I show you a little bit mohr in terms of how you can use this so I just drop this in state at eight bars and then what when I sometimes like to do is maybe I want to make this if I wanted to make this my audio group you know everything wanted to be a bars I would go in and duplicate just the notes and copy to a different path but I don't know that I need eight bars for everything but again this is how you were doing then I could go back into this group and start adding more stuff maybe I want to get rid of this are doing greece that they could play that look for something else theo I'm like that again the benefit of doing it this way is you can undo and put your money back in like question um can you get the same result if you just hardwire midi out from your ah your keyboard into the machine um you can yeah if you if you just wanna hook directly back up here you mean if you have like a midi keyboard that doesn't have usb yeah yeah you can hook up directly here actually I have this thing where I have ah sound module hooked up in here but yet if you want to just go direct regular old many cables directly out you know it's a machine you can still turn that and make that be your many controls so it doesn't have to be u s b I was just mentioning that this one was usb but if like say again you got old multi from this is just straight many and you want to use as your many controller and you don't want to go out and buy a mini interface you can just get many cables took it into the back you want took the the output from the motif to the end of machine you want to hook one of these these outputs for machine to the end of the motif in that way, you got two way communication so you can trigger the many that's going back to the motif. So if you just got won many cable, you'll be able to play, but it won't. It won't play back, it won't trigger backs. You need that two way communication. I took it out and then if you wanted it, if you're doing it that way, then you want to sample, you just sample it like everything else. Yeah, the same way you would just do that like you think sampling in this way because it's so you know, once you get kind of, you know, when you're playing around, you kind of get that pattern going, you kind of know how long it's going to be it it does it in a nice, clean, clean fashion, she just re sample it again. One of the benefits of rather's usb or many is if you have, you know, you got your many controller, you can record those many notes and then, you know, if you mess up, you could go back and change it or you could kwan ties do whatever you want to do a lot of times, I don't even do it this way and I'll show you kind of how I usually do it normally when we get over here, I really just recorded as audio, but it's the same process, so cool e e some like that, it was like qantas is on usually don't play with kwon ties, and they see why it bothers me. So, um, what I'm going to do is just do that again. Now, I would just go over and sink sampling I would just keep building it up like that. So again, on this one, I just want to go into sampling, but a record external stereo I've got to set to sing for eight bars, so again, you can eat into account and have a start there, or sometimes if I'm building a track, you know, sometimes I'll go and maybe throw some samples and handsome drums and still just have this plane, and then I'm ready to sample it. I just hit start and as long as this in that last bar is going to start on the next bar, so if you're if you're single is there's going and you're seeing, sampling is always gonna start on that next bar. So if you started in the middle he's, going to start in the middle of this is gonna start that next bar and could be in the middle of your pattern. So a lot of times I just press play and have it start, you know, right at the end and keep it like that, so I'm listening to it, and then I'll just go, nothing you can do if you don't wait for it. It was a longer pattern. You can just kind of, you know, use your mouse or used arrows and kind of scroll over to the end and started that way. So if I want to start it just have started cia says recording, you have to stop stop. So now I got that in there. Of course, you can go in and do all the stuff that we talked about, what the samples in terms of editing, especially just an audio file in there now and again, what I would do is go back over here and draw on that note for it. So and normally what I do when I start before I start doing this is I just make a bunch of these and basically treat him as audio tracks. So I just make a but if I know, I'm gonna be working in a bar pattern or four bar a pattern. Draw note in and I just copy it for sixteen so there's like sixteen audio tracks it's not really audio tracks but it kind of works like that then you know it automatically going played it and I wish I wish it would automatically play after stop sampling that's one thing that really I really really wanted to do hopefully one in two days it does that but you know I just normally restarted real quick and starts playing back but again go ahead could you explain why you prefer to draw your note in long as opposed to using your one shot oh yeah good, good good question so it goes back again to we talked about earlier on the sampling I draw it in and in that way it's only going to play however long my notice so even if it still gives me flexibility so if I don't want to play for the whole pattern I could just have it however long that one where as if it was one shot to just play and as you can see this is a bar pattern so if I stop in the middle of it everything's going keep it on you know but now in his ideas are is going to stop you know when you stop it is automatically going to stop so and nasa's I got that on there wait do this I'll just, uh we'll just do a blink went in there and I copy the east and you can go in and name what I usually do is go in and actually named these files or sometimes I won't put him in the same group I just used my groups as their own track but you know, it really doesn't matter, so I'll just duplicate these so well here duplicate make sure you have plus events on okay, so now I have sixteen audio tracks now I can just go to work and it's just, you know, as long as you keep track of where you're sampling into like this when I would I would probably named that pad and this will be a lead and then I would keep going. I would say maybe this is gonna be a base or whatever and then, you know, like I said, you could do these all in the same group, you can do him in separate groups, you can have seven groups like this. I'll just say this is my input if I learned how to spill all right, so input and I mean this I'll say, ah, what I usually do is what I would like to do is keep gear in his own group, so anything is coming from a nova going to say that's the nova group and I can just go and build that way, you don't have to do it that way. You can do it however you want, you can just say hardware, put him on the same group, or you could have each sample on his own group says, we have unlimited groups, it doesn't really matter. So it's just a matter of how do you like how you like working so questions a liner from you guys so far about this work flow. Don't you get a little confusing? Sometimes so? Well, you know, kromer beach was actually asking, and this is a little bit off, you know, the other side, but are you able to copy and paste multiple scenes once, essentially and kind of get all that cover your face, skeptical scenes? No, no, no, you can duplicate your scenes, duplicate your patterns, and but you can't like select the whole bunch of things at once in and copy them and that's, that's definitely something we've been a wanting to see in the arranger, but no currently you can't do that, so yeah, so let's say, so we got that, we'll do one more, and then I'll show you kind of how I would use the set, because I want to make sure you get the the foundation of each type of setup because there's going to be different one some people are going to be working this way some people are just gonna have stuff in many don't like maybe you got a iraq full of sound sound modules that you don't really need a mini input from you just need to send me to and then maybe you have gear that's not many at all that maybe I'm old you know in a low gear you know roads or guitars or whatever so it's going to be you know I'm gonna kind of show how you can work with all the different stuff in a similar way so you have questions was the warm waters do my girl I know you like like some kind of basic patter something was so again I'm going to get rid of that because I don't want it to be tripping twice just go and I couldn't sleep that plane I'm just stop it to explain what I'm doing but I just usually I would just keep that plant over there and recently really quick I wouldn't stop it all this many times I just want to make sure that you guys understand what I'm doing again I go back over to that that track and I would just copy it to this one right here sam three so again remember when go to sampling make sure some whatever and normally when I'm at home I have all of my national gear I haven't interface that has inputs for all of it so I have everything on his own inputs so already know you know which puts her what so but this one we have everything on the one which makes it a lot easier again just depends always make sure you choose the right one to whatever your gears hooked up to so it just depends on your audio interface or if using a mixer or whatever it is you're using again I don't need to change it because I know I'm coming in from the same place I got to think so starting last so I'm pretty much ready to go you can see it's right there and I got it so I can go over here and get rid of this and everything should be way say that's kind of quiet so I would go back over here go to this one probably ended it and normalize it just to see what happens it might look like it might get it where they got too loud but we'll see wait it's not distorted so of course you're going to your mixer and kind of look at your levels if you want so let's say we got that going and let's say we want to add something from we'll do the vocal keys so so you want to and maybe we'll figure it out so I just made this now vodka and I could still trigger it from this same group of here if I want to just because it's in here I'll just have to send me out to this instead of to the ultra nova so I think we said that one of our able listen let's make sure you go to your audio many settings and he would go under your many anyone and make sure your outputs where when you have it hooked up to so I have it on yeah I have one and two on so if you don't tow port to I think one or two so it's just so I wonder is is the set up for us be does that differ any different from many cables and all the same process is pretty much the same whether it's, usb or many you're going to see it here now now if you're using midi directly to machine then you're going to use machines, inputs and outputs so as you can see right here says I got this many cable going here to machines outputs I've got to make sure that the output for the machine that porter's on whereas with the ultra nova it shows up as its own see it shows about his own interface so you would make sure the inputs and outputs on for that makes it so important three months it's becomes his own pork and if you're just looking directly to the machine controller use those ports perfect so yeah, it should be good so we should we get to go there so I would change this here see what I think it was it was it on one was in the water too way now this would be for somebody bet you're not really using a you don't want any sounds from this controller and what I do is just normally just turn the volume down if I'm using a simple as my controller just turn the volume down when I don't need it but so now this is just a mini control this will be just like if you were using a plug in or anything inside a machine, any kind of samples or whatever you just be playing it, but I had the middie going out to this so again, if you have multiple sound modules connected to machine uh you just a zlotys you turned a middie output port on this going there, you should be able to trigger it so this one is connected to port too, so I can play just like I played everything else. So now this one of course it's analog since it doesn't have any presets, so we're going to try to find something that kind of fits with the rest of what we're doing but again to set up is really similar you just don't have that back in fourth feedback so I will record the many and the many were record, but there won't be any meeting coming from this is just coming from here it's going to trigger in this but I can still go in and re sample it the same exact way it's just you know it's just one less cable, you know, a little bit of a different set up but still that same concept and you see that the complex concepts going to say when we get over here as well, so bear with me when I try to see if we can come up with some kind of sound to record hee hee hee and feel free to getting questions of what I'm doing, what this stuff is to feel free to ask personally, I'm wondering, is it pretty easy to cycle through the diff patches like you're right now? You're using the nova two q your core ge and like, is it easy to get? Well, let's say you want like the drums from the court if you have so it depends on the instrument the court doesn't have any presets ok, so I was just kind of going through tweaking, coming up with a sound it that may fit, but like as you saw on the ultra over you, it depends on your instrument you don't switch the patches from it's, not a machine okay, just which is you know and I think that brings up another thing that I would like to see a machine is being able to change your programs on your you know, a lot of people you may have a rack full of sound modules and you want to send program changes to it so I would like to see on that many output page I would like to see, you know, now that we could send program changes to our external gear which would make it a lot easier, you know, cause some everybody's and have their gear you know, all of the same area you may have a whole rack full of external stuff over here that you can actually maybe up to machine, but then he'd be over here, you know, turning so that's one thing, but yeah, it's really depends on whatever using, so you just switch the patches on their great when you device way wait, you see what I keep doing it keep in this arranged, but this actually shows the pattern and everything on the controller. So when I when I switched back and forth that's why I'm doing it like seeing my whole pattern directly on the hardware, we don't have to keep looking at the screen so it's another thing that was really cool, so again same thing sink sampling it's in they're in the pivotal how it sounds in relation to the rest of those samples will normalize it or not so I'll go in again and just drove my building again like I said normally just do this for whatever I'm gonna be doing I know this is a bar so I want to do a pattern like eight bars and just drawing in but normally I just do this at the beginning but again I just want to show you different work flows and it's really easy to do this so if you don't have to copy it and do it all at the beginning if you don't want to it's really easy to go in and drawn in but a lot of times a lot of times I'll do this first before I get started is that we can just, you know, restarted and automatically start playing for me but again I do wish we could have it automatically a little bit, but we'll go here and get rid of that again against the the middies in there so you're so that sink sampling really makes everything line otherwise you would be stuck trying toe if you would just recorded regular audio you would be like trying to make it make sure everything lines that properly on you know if you guys ever dealt with, you know, tracking out beach from old school hardware stuff like that, but sometimes you would put like a click or clap at the beginning. So you couldn't make sure everything lines up once you track it out. But this way, with the sink sampling it's all gonna be it's, all going to go in sync with the tempo. With however you played, it is going to be ready to go.

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

William Parmlee
 

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

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!,,