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Mastering The Maschine

Lesson 24 of 24

Vocal Remix Demo with Knock Part 3

JK Swopes

Mastering The Maschine

JK Swopes

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Lesson Info

24. Vocal Remix Demo with Knock Part 3

Lesson Info

Vocal Remix Demo with Knock Part 3

Yeah, like in this group for these things I just did these now just I get like, different elements and also start putting more passed because I mean if I got a lot of stuff to work from, that helps me to you know, better keep going you know, it s so I just if I hear something my head and I'm making on the flag it's like I can always come back to that you know, like now I'm just trying to see like now give it probably just trying to see how intro calmly but this will probably be something where you know of course that he's not and maybe something like but I wouldn't say it like an animal and then we're going to the beat and then I start I led to be playing with a little a little bit and then going to her verse so do the same here part now you take this clear I had selected group b and just hit clear just to get the whole thing out because I'm actually making the scenes kind of raising my scenes, you know? And I like I like I said, I don't really you seen but today I figured I'd give it ...

a try you know, sometimes on a remix I have like, you know, maybe four or five different scenes because I just wanted as he build it up but with this pig races this using clear to take out the part you don't want and that seems like we're seeing for I just took out be it doesn't have a vocal so it just starts like I what do you think? See this one you just put this down as record this part in the actual control saying so how was started like sure back to that so you know what I'm gonna um one push him delay on that on that particular like an animal so just come out and beat the lay on there but times were going four sixteen feedback and along with someone like five wait five and I'm coming with for this scene I have a kid and that's uh it's actually gonna play for I'll make it four bars we'll make it a double making aybar's pattern where the kick is I want to bring the claps in halfway house you double it click pattern and in double and it just went from four bars eight bars now if I did this again I made this mistake the other day and I did it and I made it a bar's this way the last thing wouldn't play that's why yeah so I want you to what is in there I want that lycan animal to play in that second part also that second scenes that could you you have to play on its way of playing in the forest don't lose your head earlier those that you was his drum loose bricks yeah you're looking for the photo no way you could just go and this is okay let's stop if lux look hold you until and talk them through how it is because you know this is something where it's not imported to the library and I actually this is how honestly get most of my somehow use most of my samples these these won't show up on your and your browser or anything but it's just anything you have on your computer you can just go in and find through your browser saying like earlier when I made that many folder you could make favorites that's actually how organized most of my samples have a drum folder you know I have a loop voter I just used him as favorites and I don't really import a lot of stuff into machine just because well you guys know but now I'm really particular on how stuff is so I don't like a lot of messy stuff going around so you but that's any type of way files you can access that way so you can't you can't put your your loops in level you can if you want can you can you can import or you can import him and then tag um if you want to have him in there if anything that you import will be able to be browse directly from the controller and it will show up in the browser this is the file tab so it's not going to show up anywhere on the controller but me but theo some of us some of us browse with the mount some of those brows with the hardware I do a lot of browsing for my own samples with the mouse so I really don't need him to be in the browser I just go through the file menu and I set up I just right click on the photo and make it a favored if I used a lot like my drum photo of my loops or stuff like that and just in addition to that this is this is for if you're not necessarily wanting it to be in your browser like right you don't always want every single thing that you have to be in the browser so sometimes we do that and I was going to say something else but I forgot what it was so do yeah trust me I think everybody this gotten machine the first thing they did when they got me like dude, I can put all my stuff my browser let's do it and they like there's too much stuff in my browser I can't I really don't like this so yeah we've all been there man can you take him out of your library or they is that a touchy subject? Okay, so oh, they changed it in machine to so if you try to go it, we should be able to remove and add stuff to our browsers everyone but now if you try to go in and like if you try to go in and right, click on the photo and remove it is going is going to ask you if you want to delete it from your hard drive so if you've imported a folder to your browser, make sure you go into your preferences where we showed you would add in port stuff going to your preferences on the library tab go there and remove it from there if you just go into your browser and say I want to remove this from my browser it's going to delete it from your hard drive as well, so we used to be able to actually remove it that way, but now you have to go into the preferences to remove it so just but you can't do that you could go into preferences and you'll see a whole list of everything that you've imported in their toe have all the photos for the stuff that you import it you just go through highlight him click removed and they were moving from your browser any questions and then good we're just deciding whether or not a dance honestly jane me, I'll be on my way when the days are based you know not one of the questions actually derek was asking a little earlier is are you starting with the main section of song and then going toe work backwards like in traverse bridge I mean what's your general process you have a methodology there you see I think if I had to say given as he would probably start with start with diverse you know like like with this I downloaded this archipelago way it comes in that's the way you heard exactly how it comes in you know she just started singing so I'm assuming that's diverse so I just figured out star with that but you know there are times when I do when I put the hook now and loop it but I just I think I like the way this verse flows more because you know it kind of melodic and you know the like an animal thing doesn't really repeat that often enough teo you know for me to like get a groove on so you know it it very just depends on the actual vocal in the west really well you see usually I will say more still probably start with divers and because I get it I'll get a meat of the beaten them when they did not start working on the hook and all that you know I just had a couple of things for change or just to make it bigger you know what I mean? But you got a whole stance and man they couldn't have so I hear something like that like that was just like I said like this this shot exactly I doing like if I was by myself in room you know I'll sit there, you know, the same way I would start looking in space you know and or whatever you know it's just is that you know, it kind of comes to me and I'll put the first verse ashleigh just to say any time I'll do ok down put it here so that so far it would go like this like wait for scenes yes way being performed before when you did that when you slide to just seemed right there were you able tio make a selection of scenes you want toe playback by just holding oh yes, I'm going to say that like like like I want these three, four, five and six to play you mean in sequence yeah, I just hold for down and go and impressed six everything for everything in between a play okay, so but you think I'm doing what I'm doing? I'm sorry, so you could set your range sorry so he's holding this it's a crazy but in combination so you hold shift and on your controller it says loop so you hold shift and restart with the left hand it's kind of like twister then you hold you put your thumb on one of the function arrows, like left or right. And then some say, if you want to extend your look to the right, you hold down the right arrow and turn the job will and you see, you know, if you see it up there where's highlight ones and this also lets you work on a specific section of your your seems to so why you bring, for instance, like you want to start the the chick drum later? Or you wanted, like, four bars of no kick drum, and then they have the four bars. You can't you can't pull that pattern. No, no, no, you hit, you hit, you hit my soft spots, man, is this stuff we did this but again, that's kind of what we talked about, what their ranger and the I think we spoke on it when we were talking about dealing with the automation and stuff since it's. So pattern based is really it's not as flexible in terms of within the scene. So you're seeing is always going toe your every parent is going toe loop as long as the longest. Pattern in your state so if he has a c v has a scene with a pattern this sixteen bars it doesn't matter some of his patterns or two bars they're just going to keep movement you can't say I really don't want these two bars here I really just want him here it doesn't matter we're going to play for the whole sixteen bars and keep looping that two bars unfortunately but exactly what you're asking is is some stuff that drag dude yeah truck yeah we don't yeah one of these days men that hopefully will get that we've been we've been we've been pushing for stuff like that for a long time so you're definitely not alone is a lot of people like that because the machine is so hands on you really want to stay in there for a lot of people the only reason they take it to a dog's because of situations like this because you can't you can't really get that linear layout of your song you know you can't really say I just really want this pattern kind of play and at last one bar I mean the only way around that would be to make a if you had an eight bar if you're saying was a bars and you just wanted maybe a kick in the last two you'd make a eight bar pattern just played the kick you know in the last two bars so veni beavers actually asking how faithful to folks usually want you to stay to the original song they want you to keep the instrumental elements or just the vocals and were you working for clients or you're doing these on your own or how does that old plane I'm never I mean and I've done quite a few remixes I've never had anyone clients tell me to stay true to the song that you know these days I think if you do that they get like mount and I paid you to remake senses right like what I gave me what I gave you so I mean and it's just I mean if they usually have to bring it back to him like it's like totally different you know you know and they just I mean with the way that sounds on today anyway you know that's expected you know teo you know usually do a specific type of mix of something but you know and all remakes outdoing I've never had anybody really ask me anything you asked me to keep it close to the original self so uh you did you have and you got to set right it looks like it should be doing what you wanted to do I thought it was like sixteen bars you was just making a change right there you've got sixteen bar okay he was looking for his liver to change. Okay, you doubled it when a boy is right. Um so I'll just I'll bring it eight down again if you want to get for your just for that intro part yeah yeah that's probably what you want but now you don't have it selected because you didn't you d selected what all the track you d selected you're saying it's they're not highlighted not going play you're not gonna play out to each other because when you did all that you d selected him I don't know what we'll do your normal highlight of your scene start and saying you want to start with and the thing you want to end with yeah oh yeah oh yeah you know I was going to have my hand okay it was that sixteen bars expecting coming sixty four yeah I had to buy that he seems to our basic the bars too long had just cut him in half but because the actual alas seen on here needs to be sixteen because that's what thea versus so now theo that's right before the birds coming and I just drop that thing like just a little build something for let it play so we can ride off into the sunset wait wait it's supposed to continue their okay you put the wrong vocal in school you know all this happens at home yeah tell me e one one to the last scene I'm just going to say this is sixteen dollars was going to drop the vocals and there you that's like e okay, wait, well, make no singing and this is going to be just will come after her. I know it's kind of early for a break, but I'm just going to you know, you hear this, this would come out where that verse just ended. That way we'll make this pattern of eight bars sometimes I like to copy that next one, so I don't have to keep on just go quantifies it and, uh, that tripoli part and then went did that didn't I'm just going to redo that part just a race to one idea before when I quantifies it it's going it would take that trip. So whatever you do, whatever you want with the greatest thing was, which is one sixteen, so it would have been worthless anyway, so I just I wouldn't go into the pattern actually like a fire that last one idea was devil out of here, so bring it up instead of trying to read in court. So right, because it was kind of low on it when he started to roll what you have now, how you put together what with all the things you had now, how would they, how they flow kind of put him in the order or playing in the order they would flow, yeah let me put this this vocal down in this part I just did just mess your second and then I playing in order because if this is possible to come out with afternoon go get louder nomi it allowed you were critical out yeah like it's gonna come in tomorrow and it's going to go and what I wanted to go down one of the defeat that feedback to go with echo but having kind of come back up towards the end take your second one out hee hee it's like a like a like like like like like like like like wait but actually writhe yes this's excellent time so just say s oh there's different work flows on this um this is where I would be using like a second a separate pad and you had a just the input rather the put in effect z could automate the end of the effect you know right? So no, no it's a good idea. I just I'm like I'm just, you know, transfer something one after another you know, like like you like a deer in the headlights when he said he was like, why my dear in the headlights moment hee hee I'm just going I was going to go be actually just let it go long on this part yes, I could automate this you would have to everyone's going to like that on every exactly my back no, I'm just going just going better feedback I'm not going to go along with black like bars. Thank you like just trying to find a place to put it I'll tell you what what's a re sample it we sample it's like an animal with that with all this okay, like that's bull to repeat their part let me go get the sample, get up to sample and then having ready to play that little feedback just sampling sample with that then when I put it I'm just going to reverse it hopefully that's all all right like a like like like like like like like e sampling on put on the same page so I don't actually putting on this page that's cool things happen so they all do it, brother, we all do it uh things like a like sometimes it will be I mean, my spirit, my spirit thirty minutes on his one part you know, it depends like or it could just I could have just got it right away. You know, about forty five. Yeah, it seems like certain sections can come together like beginning in some parts of your action, having to put it on video if you re mixing or making a beat or something like how long do you ah you work on that in just one sit down one session yeah I think everybody is going to be different in terms I think it depends on the beat and what you're doing really and the heart you know it could be and at least for five hours that I'll sit there you know like I kid so you know before them I probably only eight hours or whatever when do you uh it's like would you go back to it again what do you mean so what like would you uh would you select sleep on it would you go back to it again in the same day yeah yeah well you know I I don't know I don't like to sleep on it like I go to bed it's like sometimes I can't go to be I lay down here and I'm trying to sleep on so I'll just get right back up and go another couple of hours you know and then then it gets to the point you know if you produce so even d j you get to the point where you're so tired and it's like you know smile sliding or you hitting buttons and it kind of does and then I then I'll go to sleep but once I get up I just get back on it but you know it is you know out you know I lose since the time when I'm when I'm you know, doing because, like I say, yes, it is just like, this is fun to me. So, you know, but I basically would have went into the sea, can play when you have. So for just, you know, absolutely. This is how it should play. Make sure thing, showing just how, how much I got. So it's you e.

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