Using External Sound Modules with Maschine Part 2
Base some what I would do from base I would just use this now what this is simulating is anything that doesn't have maybe I don't have this made it up it's just the audio going directly into machine so it could be anything being a guitar, it could be maybe your d j you wantto scratch over the track on it can be since old analog since old vintage keeps you khun mike up, you know, percussion, whatever it is that doesn't have many you've recorded this way, and for that again you would just go in and you don't even really need you don't really need this input for that because we're just gonna be sampling it, but I'll just leave it there as I'm demo in it and they were not going and sample it. I'll be good to go, so I'll just make this one I call it we'll just call it the brute. So and for this one I know is probably gonna be another uh, yeah, well, just make it just cause this kind of double time I'll make this one eight parts as well, and also you see me kind of I'd like to see my whole p...
attern on the screen as well you can also do that directly from the hardware if you press navigate, you consume your patterning now so that's what I'm doing, I just like I don't like my patterns to be off after screen so you don't have to do that it still works the same that's just how I like to see stuff so and I'm probably going to use one base from this, but just in case I'll duplicate this a couple of times just case so these air basically my audio tracks now you know, that's, basically what I'm treat him is that if you were working in a dog and you were recording to an audio track as basically what is this? Because I'm not using many just using audio so I would just come up with something and I could still, you know, do a sink sampling and I could still do sink sampling and where is going to stop where I needed to stop and you don't have to have many plane for seeing sampling work, so plus I'm used to working with sub, so you know someone have little stuff you may not be able to pick up as well directly on these monitors, but you know it's again it's the lower in base but it's cool you see this playing automatically just when it stops sampling and has to go back around again for to start playing again that's when those things I would definitely like to see it automatically loop, but you know, that's all my extra stuff. And like I said, you could keep adding like that. And then I would just go in and find drums to add to it and keep building like that. And you have all your samples in there so that I would just keep building up. Maybe I want to hear, like, a way, like a little clappers, something something. So I can just go browse for that over to my samples, and they won't replace this with, uh, collab. I like that one kind of standing with music. Well over the river, remember, you have the samples in here. You could still going. And anything you could still going in and affects is pretty much just like it. You attract. So I like that. I like to call these little if you go back up to one of these sampling oh, I just like to call these my audio tracks and again, there's that pattern over there. They don't know why, but that's pretty much the workload. And I would go in and start having different effects and, you know, maybe even adding some warm. And we can have some more stuff in there if anybody has any questions about the work flow. It was pretty think you're doing a great job explaining it. We have a pretty specific question that we're going to be able to answer here, it's all hardware or u s o beats over there, we're getting team a friend um, how would you set up the machine tow load, a court drum kit from the court sound module, just like a group, so essentially mapping each of the sounds to each of the individual path, which is an individual pants, so I don't have one set up like that, but what I would do is I would go to a group and I was right click on this group and I would say group many bats set up, I would say sounds too many notes what this is going to do is going to give every pad in the group his own mini note, so you should be able to line that up with if you have what you said. A drum module, this spread across the keys in your and your corner on module, whatever, you should be able to trigger that, so find your route like you still think you're still going toe set your many output destination, of course, and you could set your channel what they should be a blue, they're going to all be on the same channel. By default, when you use that many bats set up, but you can see right here it actually transposed the notes. Now, the thing to remember about machine by default, it starts its c three, so if you wanted to start lower, you can actually go in and transpose each of the individual notes to kind of change it so you don't hear your sound. Yeah, you can go in and transpose your nose. So because most actually, most most drum kits don't start on c three muslim starting, like seat one, so you'll probably hear something that probably percussion in the kid, you know? But so you again, you were just right. Click on that and do a mini batch set up and you should be should be able to trigger all your drums individually. So perfect. So let's, see, may well have some more stuff in here. Look, you work with external gear a lot. Is there anything that you want to add? Um, essentially it in touching on what you were just talking about as far as setting up external drum groups, the primary thing to remember is really the middie newt, right being low because aa lot of him, like you said, are very low if you're using something like an ipad. That you're triggering a lot of people are using beat maker to and different things like that those drone modules start really, really low some of them are even in the negative midi ranges, so I get a lot of questions, you know, of people saying, oh, well, I set it up how I think it's supposed to be, but for some reason it's not triggering you've got to get really low for those nudes. Also, when you were doing the the audio input, maybe you could show how there's the loop on and off for the exporting, right? So you mean the audio exporting? Yeah, exactly for it and for when your sample yeah, I mean, the export right here? Yes, you said input s so yes. So you got, you know, you've got your audio expert options, especially when you're working with longer audio loops. If you go over here to your options, you'll see luke optimized you can actually optimize it, so it actually when you export the audio is not gonna loop for you it's not going to be just a loop, but when you play it like an adult, like, say, if I want to export just thes tracts and put it inside with dawn, kind of build out a track that way, if you put loop optimize on they're going to sound proper, whereas if you don't there's going to be like some, it could be some overflow or that cut off like we talked about earlier when you talked about the delaying or something getting cut offices china, lou properly so yeah, that's what the loop optimize would be, of course, you can normalize. I really don't suggest normalizing anything when you export, just not I just I'm not a fan of it, so sometimes when you're importing things and you're sampling, sometimes the stuff's a little low, so you want to normalize it. But when you're exporting your song, you kind of got your levels, how do you want you really don't want to normalize good then it's going to really get rid of everything you just did with your levels and just bring everything up to the same level again anyway, so and if you have something really low when you normalize, it is gonna have a lot of noise to it. So that's just that's just one thing going speaking your workflow, do you use machine like as stand alone to do out of production and then just bounce it out? Tio, what is your deal with normally honestly, for me, I do probably most of my stuff inside of machine sometimes I use able teo and kind of record it and when I do it when I was able to open machine is a plugging, but I won't set up any midi or anything, I'll basically use a machine like a hardware drum machine so I would load it as a plug it on the track and route the audio to another, you know, two audio track and able to and I'm just record my drums and everything in real time as audio inside unable to so a lot of times, you know, most of time complete a lot of stuff inside of machine, but when I'm really working with audio the way able to works with being able to automatically looked like I talked about, I kind of like to go to able to use it that way and just build it up and work with all audio just because you use you use machines, a plug in there you can't it doesn't play these portals and that and I've been tryingto start doing that is like a plug in yeah, but I'd like for some reason I just feel like it's way better yeah stand alone that is applying for some really because I don't know how it is able to embalm pro tools half of the functionality of the machine is you can't do that you plug in, you lose control of your your transport section stuff now there's a way to do that with many holes integration if you open up the controller editor and you assign the so called the mackey controller template and there's a there's a little box that says host host template host was host transport control room so if you check that you can go into pro tools and actually set up a mackey device and just tell them tell pro tools that the magi device is machine and you'll you'll be able to actually control the transport of your dog. It won't control the transport of machine because when machine is a plug in its slave to your dog but it would give you gives you a little bit of control in terms of being able to start stop recording in fact, your dog. So would I be able to do like the scrolling with the wheel? Like, what did that be able to scroll through my my on my mind, everything and protest? I'm not sure if this grow real works in protest. I don't use pro tools for having doesn't it in there, but it depends on the mitt. It really depends on the mac implementation of your dog, so and but you may be able to make it do that I would have to check and see like I said, I don't haven't used pro tools, so uh but, you know, you could use it as a plug in, but I definitely understand what the whole losing control of everything again, but a lot of times, I just I just use it when I use it in it in a dog and use it as if it's extra gear I just recorded audio, I don't worry about me and, you know, I just go, and if I don't like somebody's, undo it and do it again and that's just my personal work flow no, I mean, you know, I've shown different ways for for people integrated with median, you know, many things up and make sure everything is recording, you know, into your dawn on this stuff so you can do it just takes a little bit of some work arounds and everything and just a quick comment on that as well. The screen that he's on now is showing the loop optimize. Those functions also are great for if you're working in pro tools, you don't have to open it as the plug in, so you could have machine be standalone pro tools open and then dragging and dropping your audio directly out of machine. Either group lies, or you can do it as a whole project, but if you're doing loop optimize on if you set like a four bar, lupin pro tools it will be a four bar loop that you're exporting and boom right now it will all match up perfectly in that so you don't have to fight with it yeah and there's actually a lot of people they prefer to work that way just drag drop that just leave machines stand alone and they just use their dolls specifically for arranging so the work up other different patterns and everything inside of machine you either go here and export it this way or just as you have it open drag and drop into your dog and it just drags and dropping his own you know you can either like he said through the full group where it's like a whole drum loop where you can do the individual sounds and drive them individually so like your whole kick will have his own way found your own you know you share so get yeah perfect yeah nobody good question get machine inside of a dog is it definitely some stuff to be desired just really really comes down to your workflow and how you like to work if you if you really prefer the hands on of machine I like using stand alone justcause even even just something as simple as stopping and starting and restarting is really it's just that muscle memory is something that's ingrained into my might work flow for actually making tracks so if that doesn't work the same it kind of messes up my my flow, I kind of meant I'm not as comfortable, so I said that's why, for me sometimes, if I'm just doing, if I'm working, unable to enter a dog, I'll just record machine has audio in that way, because and only reason I do is because I actually have a controller for able to know, you know, I have a figure port for studio one, something that I can actually control the transport and and I just recorded as audio not even worry about the meat so did was get rid of the policy, which, you know, export let's see if we can find some other stuff to throw in here from maybe, uh, believing you're combining tio to say material, maybe if you wantto speak to the sampling in integrating with the hardware and maybe kind of build some some track pieces off of that, yeah, well back essentially I'm sampling right now that's I mean, you know, actually, if you if you think about that's really what this is, you know, it's just it is the same process as if I were sampling from music, I'm just sampling my own plane and I was it's really the same and and for me and attract like this, I probably wouldn't mesh like a sampled song. Just because you know the direction it's going it's kind of it's kind of more original maybe if I had like maybe a sample vocal or something um which I didn't bring but but yeah it's really the whole like like I spoke earlier anything you're getting into machine is a sample if you think about that could I think sometimes we get confused with a lot of confusion when it comes to you know get in your heart where again your guitar you know, getting your other stuff into machine but when you explain it it's just a sample it's really is really just a sample you treat everything as a sample says machine doesn't have audio tracks you treat everything as if you were sampling and is it doesn't matter if you're sampling from your ipad your new each you know turntable or if you're sampling from a mike you know I know flux there's a lot of miking up drum kits and you know, old factory containers and all types of crazy stuff and the whole sample that stuff so you can do stuff like that like I said you could be a turntable if you're doing you're performing you want to sample your performance into machine and you know just do where you want to do or maybe you want to you know cut someone's comes scratches over your tracks you can do that, you just treat it as a lute you know, you treated as an audio so however long you want to do it that's how long do you use tablet for this thing? Sampling makes it really easy. I never usually rarely ever sample this way without using sync sample because it's so easy for me to build my track this way I mean, sometimes if you really like if you have somebody that you really just want to let me go to town on the guitar or you know, some some scratches or stuff like that you may just put it on instead of saying sampling you may go here and just say detect and that way is just going to go or you can leave it on sing sampling but said it's a free so similar but yeah that's the sampling the whole thing is pretty much the same so I would just keep building up this way and adding new stuff and maybe going in and the facts and different stuff like that so we'll see if you use the mike man. Yeah, um another thing getting back to how you were doing that you were showing that you were using a dsr before and you were holding the newt length maybe you could talk on using one shot if you want that like he sample to overlap into a different own into a different scene there you just talked about it you explain it, right? You know, I mean, if you're using one shot and you wanted your keys, the overlap you're loose then you know you're leaving in one shot is gonna go over into the next scene. You did explain why you would do that, you know, as far as like for vocal samples or something. Yeah, well, way actually actually do it. We do get that question a lot and so you get that's kind of getting into what not going to do tomorrow, what is remixing? But you know, sometimes you a lot of people that were working with capellas and different stuff like that and they want to kind of put it in there across their whole song like maybe you got a bunch of different scenes going on inside of your song and usually now want toe has some vocals or even your own a lot of people to say, I want to record my vocals into machine because it's just the hands on aspect that people love so they would prefer to work inside a machine and like you said, you would put that on one shot so let's say if you had some vocals and you want to start at the beginning, you would put it on one shot and as it plays it's gonna play across all you're seeing is just going keep going you know, as opposed to, if it's eighty s are going to stop at each scene, you know, when you would have to go in like normally when I would I do in that situation because I prefer to have more control, chop it up and chop it up and put with the different parts in the different scenes, you know, I would take the vocal and chop these parts and put it in this scene and and make it so it lines up and that way I have more control so I can start it on any scene and I would have vocals that way as opposed to making a big long one shot for the whole song, but it is definitely possible, especially if you're doing something like performing live some like that it could definitely be beneficial to just hit it and have it have it come out so good point man, good stuff. So so I guess, like in this song, I mean, what where would you take this this track against is you have the student? So first I would I would make sure I have most of, like, make sure I want to add anything like the way I'm way I build my tracks, I kind of put everything in there first, and then I kind of, you know, start building scenes and taking stuff out so what I would do is you know see listen to it see if I have anything else so I'm gonna see if I want to add anything else first and I'll kind of show my process of how I actually start building my soul so so then I got that in there so what I would do now is just actually we'll go over to my scenes are actually probably well it was duplicate this scene a couple times and then I would kind of build like pulling staff so what kind of area okay just copy these air duplicated or whatever and the thing about this if you if you if you're in a scene and you want to duplicate it if you duplicate you have an option that sits plus patterns I don't really need it in this situation but if you're doing a lot of stuff internal and basically if you do a plus pattern is going toe create new patterns for each group and the reason that's beneficial because if you don't do that and you build a bunch of scenes and maybe you know and seen seven you want to change something and one of the groups is not changing for all those parents it's going change for that pattern in every scene so if you do it plus pattern is going to make it it would just do it just to just to say we do it so what does do that I'll do it a couple times and then I would just go in and start removing stuff like I normally don't like to start with my drums so I'll take that out and listen to it and see how it sounds actually give in to this first I don't really want in there I can't change my mind I kind of just want to just these two I think maybe I'll bring in on then I can actually double click up here to make him play on the same time so here there you go way when I double click that there is actually going to change these altogether so there are gonna play in succession just listen for how it goes wait just right click on a different scenes just to kind of build up my track so basically this is how you build songs inside a machine to use their ranger and just think of each one of these as this own section I could, you know, renamed these to intro and then this one is going to be uh we can call this control too and then this with everything in it would probably be my course gillian this could be a verse, you know, part of a verse and then you would just name like that and that's kind of hand in just keep building it out, you know, and again into your navigate if you want to zoom in, if you need to. But so, as you add, more scenes, is going to get bigger.