MASCHINE 2.0 MK3 Manual English 2 7 10 PDF

MASCHINE MK3 MANUAL
Disclaimer
The information in this document is subject to change without notice and does not represent a
commitment on the part of Native Instruments GmbH. The software described by this docu-
ment is subject to a License Agreement and may not be copied to other media. No part of this
publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose,
without prior written permission by Native Instruments GmbH, hereinafter referred to as Native
Instruments.
“Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru-
ments GmbH.
ASIO, VST, HALion and Cubase are registered trademarks of Steinberg Media Technologies
GmbH.
All other product and company names are trademarks™ or registered® trademarks of their re-
spective holders. Use of them does not imply any affiliation with or endorsement by them.
Document authored by: David Gover and Nico Sidi.

Software version: 2.7.10 (10/2018)
Hardware version: MASCHINE MK3
Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but
in making this a better product.
Contact
NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc.

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© NATIVE INSTRUMENTS GmbH, 2018. All rights reserved.

Table of Contents
Table of Contents
1 Welcome to MASCHINE ............................................................................................. 25
1.1 MASCHINE Documentation .......................................................................................................... 26
1.2 Document Conventions ............................................................................................................... 27
1.3 New Features in MASCHINE 2.7.10 ............................................................................................. 29
1.4 New Features in MASCHINE 2.7.8 ............................................................................................... 30
2 Quick Reference ........................................................................................................ 37
2.1 Using Your Controller .................................................................................................................. 37
2.1.1 Controller Modes and Mode Pinning .......................................................................... 37
2.1.2 Controlling the Software Views from Your Controller ................................................. 39
2.2 MASCHINE Project Overview ........................................................................................................ 42
2.2.1 Sound Content ........................................................................................................... 43
2.2.2 Arrangement .............................................................................................................. 44
2.3 MASCHINE Hardware Overview ................................................................................................... 47
2.3.1 MASCHINE Hardware Overview .................................................................................. 47
2.3.1.1 Control Section ..........................................................................................49
2.3.1.2 Edit Section ...............................................................................................52
2.3.1.3 Performance Section ..................................................................................53
2.3.1.4 Group Section ............................................................................................55
2.3.1.5 Transport Section ......................................................................................55
2.3.1.6 Pad Section ...............................................................................................57
2.3.1.7 Rear Panel .................................................................................................62
2.4 MASCHINE Software Overview ..................................................................................................... 64
MASCHINE - Manual - 4
Table of Contents
2.4.1 Header ....................................................................................................................... 65

2.4.2 Browser ..................................................................................................................... 67
2.4.3 Arranger .................................................................................................................... 69
2.4.4 Control Area ............................................................................................................... 72
2.4.5 Pattern Editor ............................................................................................................ 73
3 Basic Concepts ......................................................................................................... 75
3.1 Important Names and Concepts ................................................................................................. 75
3.2 Adjusting the MASCHINE User Interface ..................................................................................... 78
3.2.1 Adjusting the Size of the Interface ............................................................................. 78
3.2.2 Switching between Ideas View and Song View ........................................................... 79
3.2.3 Showing/Hiding the Browser ...................................................................................... 80
3.2.4 Minimizing the Mixer ................................................................................................. 80
3.2.5 Showing/Hiding the Control Lane .............................................................................. 81
3.3 Common Operations ................................................................................................................... 82
3.3.1 Using the 4-Directional Push Encoder ....................................................................... 82
3.3.2 Pinning a Mode on the Controller ............................................................................... 83
3.3.3 Adjusting Volume, Swing, and Tempo ........................................................................ 84
3.3.4 Undo/Redo ................................................................................................................. 87
3.3.5 List Overlay for Selectors ........................................................................................... 89
3.3.6 Zoom and Scroll Overlays .......................................................................................... 90
3.3.7 Focusing on a Group or a Sound ................................................................................ 91
3.3.8 Switching Between the Master, Group, and Sound Level ........................................... 96
3.3.9 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area . 97
3.3.9.1 Extended Navigate Mode on Your Controller ..............................................102
3.3.10 Navigating the Software Using the Controller ............................................................ 105
3.3.11 Using Two or More Hardware Controllers ................................................................... 106
Table of Contents
3.3.12 Touch Auto-Write Option ............................................................................................ 108

3.4 Native Kontrol Standard ............................................................................................................. 110
3.5 Stand-Alone and Plug-in Mode ................................................................................................... 111
3.5.1 Differences between Stand-Alone and Plug-in Mode ................................................. 112
3.5.2 Switching Instances .................................................................................................. 113
3.5.3 Controlling Various Instances with Different Controllers ........................................... 114
3.6 Host Integration .......................................................................................................................... 114
3.6.1 Setting up Host Integration ....................................................................................... 115
3.6.1.1 Setting up Ableton Live (macOS) ...............................................................115
3.6.1.2 Setting up Ableton Live (Windows) ............................................................116
3.6.1.3 Setting up Apple Logic Pro X ......................................................................116
3.6.2 Integration with Ableton Live ..................................................................................... 117
3.6.3 Integration with Apple Logic Pro X ............................................................................. 119
3.7 Preferences ................................................................................................................................. 120
3.7.1 Preferences – General Page ....................................................................................... 121
3.7.2 Preferences – Audio Page .......................................................................................... 126
3.7.3 Preferences – MIDI Page ............................................................................................ 130
3.7.4 Preferences – Default Page ....................................................................................... 133
3.7.5 Preferences – Library Page ........................................................................................ 137
3.7.6 Preferences – Plug-ins Page ..................................................................................... 145
3.7.7 Preferences – Hardware Page .................................................................................... 150
3.7.8 Preferences – Colors Page ......................................................................................... 154
3.8 Integrating MASCHINE into a MIDI Setup .................................................................................... 156
3.8.1 Connecting External MIDI Equipment ........................................................................ 156
3.8.2 Sync to External MIDI Clock ....................................................................................... 157
3.8.3 Send MIDI Clock ......................................................................................................... 158
Table of Contents
3.9 Syncing MASCHINE using Ableton Link ....................................................................................... 159

3.9.1 Connecting to a Network ............................................................................................ 159
3.9.2 Joining and Leaving a Link Session ........................................................................... 159
3.10 Using a Pedal with the MASCHINE Controller .............................................................................. 160
3.11 File Management on the MASCHINE Controller ........................................................................... 161
4 Browser .................................................................................................................... 163
4.1 Browser Basics ........................................................................................................................... 163
4.1.1 The MASCHINE Library ............................................................................................... 163
4.1.2 Browsing the Library vs. Browsing Your Hard Disks ................................................... 164
4.2 Searching and Loading Files from the Library ............................................................................ 165
4.2.1 Overview of the LIBRARY Pane ................................................................................... 165
4.2.2 Selecting or Loading a Product and Selecting a Bank from the Browser .................... 170
4.2.2.1 Browsing by Product Category Using MASCHINE MK3 ................................174
4.2.2.2 Browsing by Product Vendor Using MASCHINE MK3 ...................................175
4.2.3 Selecting a Product Category, a Product, a Bank, and a Sub-Bank ........................... 175
4.2.3.1 Selecting a Product Category, a Product, a Bank, and a Sub-Bank on the
Controller ...................................................................................................179
4.2.4 Selecting a File Type .................................................................................................. 180
4.2.5 Choosing Between Factory and User Content ............................................................. 181
4.2.6 Selecting Type and Mode Tags ................................................................................... 182
4.2.7 List and Tag Overlays in the Browser ......................................................................... 188
4.2.8 Performing a Text Search ........................................................................................... 190
4.2.9 Loading a File from the Result List ............................................................................ 190
4.3 Additional Browsing Tools .......................................................................................................... 195
4.3.1 Loading the Selected Files Automatically .................................................................. 195
4.3.2 Auditioning Instrument Presets ................................................................................. 197
Table of Contents
4.3.3 Auditioning Samples ................................................................................................. 198

4.3.4 Loading Groups with Patterns ................................................................................... 199
4.3.5 Loading Groups with Routing .................................................................................... 200
4.3.6 Displaying File Information ........................................................................................ 200
4.4 Using Favorites in the Browser ................................................................................................... 201
4.5 Editing the Files’ Tags and Properties ........................................................................................ 207
4.5.1 Attribute Editor Basics .............................................................................................. 207
4.5.2 The BANK Page .......................................................................................................... 209
4.5.3 The TYPES and MODES Pages .................................................................................... 210
4.5.4 The PROPERTIES Page ............................................................................................... 212
4.6 Loading and Importing Files from Your File System .................................................................... 213
4.6.1 Overview of the FILES Pane ........................................................................................ 213
4.6.2 Using Favorites .......................................................................................................... 215
4.6.3 Using the Location Bar .............................................................................................. 216
4.6.4 Navigating to Recent Locations ................................................................................. 217
4.6.5 Using the Result List ................................................................................................. 218
4.6.6 Importing Files to the MASCHINE Library ................................................................... 221
4.7 Locating Missing Samples .......................................................................................................... 223
4.8 Using Quick Browse .................................................................................................................... 225
5 Managing Sounds, Groups, and Your Project ............................................................... 229
5.1 Overview of the Sounds, Groups, and Master .............................................................................. 229
5.1.1 The Sound, Group, and Master Channels ................................................................... 230
5.1.2 Similarities and Differences in Handling Sounds and Groups ................................... 231
5.1.3 Selecting Multiple Sounds or Groups ......................................................................... 232
5.2 Managing Sounds ....................................................................................................................... 237
5.2.1 Loading Sounds ......................................................................................................... 239
Table of Contents
5.2.2 Pre-listening to Sounds ............................................................................................. 240

5.2.3 Renaming Sound Slots .............................................................................................. 241
5.2.4 Changing the Sound’s Color ...................................................................................... 241
5.2.5 Saving Sounds ........................................................................................................... 243
5.2.6 Copying and Pasting Sounds ..................................................................................... 245
5.2.7 Moving Sounds .......................................................................................................... 248
5.2.8 Resetting Sound Slots ............................................................................................... 249
5.3 Managing Groups ....................................................................................................................... 251
5.3.1 Creating Groups ........................................................................................................ 252
5.3.2 Loading Groups ......................................................................................................... 253
5.3.3 Renaming Groups ...................................................................................................... 255
5.3.4 Changing the Group’s Color ....................................................................................... 255
5.3.5 Saving Groups ........................................................................................................... 257
5.3.6 Copying and Pasting Groups ..................................................................................... 259
5.3.7 Reordering Groups ..................................................................................................... 262
5.3.8 Deleting Groups ......................................................................................................... 263
5.4 Exporting MASCHINE Objects and Audio ..................................................................................... 264
5.4.1 Saving a Group with its Samples ............................................................................... 265
5.4.2 Saving a Project with its Samples ............................................................................. 266
5.4.3 Exporting Audio ......................................................................................................... 268
5.5 Importing Third-Party File Formats ............................................................................................. 274
5.5.1 Loading REX Files into Sound Slots ........................................................................... 274
5.5.2 Importing MPC Programs to Groups ........................................................................... 275
6 Playing on the Controller ........................................................................................... 279
6.1 Adjusting the Pads ..................................................................................................................... 279
6.1.1 The Pad View in the Software .................................................................................... 279
Table of Contents
6.1.2 Choosing a Pad Input Mode ....................................................................................... 281

6.1.3 Adjusting the Base Key .............................................................................................. 284
6.1.4 Using Choke Groups .................................................................................................. 286
6.1.5 Using Link Groups ..................................................................................................... 288
6.2 Adjusting the Key, Choke, and Link Parameters for Multiple Sounds .......................................... 290
6.3 Playing Tools .............................................................................................................................. 291
6.3.1 Mute and Solo ............................................................................................................ 292
6.3.2 Choke All Notes .......................................................................................................... 296
6.3.3 Groove ....................................................................................................................... 297
6.3.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller .................................... 299
6.3.5 Tap Tempo ................................................................................................................. 303
6.4 Performance Features ................................................................................................................. 304
6.4.1 Overview of the Perform Features .............................................................................. 304
6.4.2 Selecting a Scale and Creating Chords ..................................................................... 307
6.4.3 Scale and Chord Parameters ..................................................................................... 307
6.4.4 Creating Arpeggios and Repeated Notes ................................................................... 320
6.4.5 Swing on Note Repeat / Arp Output ........................................................................... 325
6.5 Using Lock Snapshots ................................................................................................................ 326
6.5.1 Creating a Lock Snapshot .......................................................................................... 326
6.5.2 Using Extended Lock .................................................................................................. 327
6.5.3 Updating a Lock Snapshot ......................................................................................... 327
6.5.4 Recalling a Lock Snapshot ........................................................................................ 328
6.5.5 Morphing Between Lock Snapshots ........................................................................... 328
6.5.6 Deleting a Lock Snapshot .......................................................................................... 329
6.5.7 Triggering Lock Snapshots via MIDI ........................................................................... 330
6.6 Using the Smart Strip ................................................................................................................. 331
Table of Contents
6.6.1 Pitch Mode ................................................................................................................. 332

6.6.2 Modulation Mode ....................................................................................................... 332
6.6.3 Perform Mode ............................................................................................................ 332
6.6.4 Notes Mode ................................................................................................................ 333
7 Working with Plug-ins ............................................................................................... 334
7.1 Plug-in Overview ........................................................................................................................ 334
7.1.1 Plug-in Basics ........................................................................................................... 334
7.1.2 First Plug-in Slot of Sounds: Choosing the Sound’s Role ........................................... 338
7.1.3 Loading, Removing, and Replacing a Plug-in ............................................................ 339
7.1.3.1 Browser Plug-in Slot Selection ...................................................................345
7.1.4 Adjusting the Plug-in Parameters ............................................................................. 348
7.1.5 Bypassing Plug-in Slots ............................................................................................ 348
7.1.6 Using Side-Chain ...................................................................................................... 350
7.1.7 Moving Plug-ins ........................................................................................................ 350
7.1.8 Alternative: the Plug-in Strip ..................................................................................... 352
7.1.9 Saving and Recalling Plug-in Presets ....................................................................... 352
7.1.9.1 Saving Plug-in Presets ..............................................................................353
7.1.9.2 Recalling Plug-in Presets ..........................................................................354
7.1.9.3 Removing a Default Plug-in Preset ............................................................355
7.2 The Sampler Plug-in ................................................................................................................... 356
7.2.1 Page 1: Voice Settings / Engine ................................................................................. 358
7.2.2 Page 2: Pitch / Envelope ............................................................................................ 360
7.2.3 Page 3: FX / Filter ...................................................................................................... 363
7.2.4 Page 4: Modulation .................................................................................................... 365
7.2.5 Page 5: LFO ............................................................................................................... 367
7.2.6 Page 6: Velocity / Modwheel ...................................................................................... 369
Table of Contents
7.3 Using Native Instruments and External Plug-ins ........................................................................ 371

7.3.1 Opening/Closing Plug-in Windows ............................................................................. 371
7.3.2 Using the VST/AU Plug-in Parameters ....................................................................... 374
7.3.3 Setting Up Your Own Parameter Pages ...................................................................... 375
7.3.4 Using VST/AU Plug-in Presets .................................................................................... 380
7.3.5 Multiple-Output Plug-ins and Multitimbral Plug-ins ................................................. 382
8 Using the Audio Plug-in ............................................................................................. 384
8.1 Loading a Loop into the Audio Plug-in ........................................................................................ 388
8.2 Editing Audio in the Audio Plug-in .............................................................................................. 389
8.3 Using Loop Mode ........................................................................................................................ 390
8.4 Using Gate Mode ........................................................................................................................ 392
9 Using the Drumsynths ................................................................................................ 394
9.1 Drumsynths – General Handling ................................................................................................. 395
9.1.1 Engines: Many Different Drums per Drumsynth ......................................................... 395
9.1.2 Common Parameter Organization .............................................................................. 395
9.1.3 Shared Parameters .................................................................................................... 398
9.1.4 Various Velocity Responses ....................................................................................... 398
9.1.5 Pitch Range, Tuning, and MIDI Notes ........................................................................ 398
9.2 The Kicks .................................................................................................................................... 399
9.2.1 Kick – Sub ................................................................................................................. 401
9.2.2 Kick – Tronic .............................................................................................................. 403
9.2.3 Kick – Dusty .............................................................................................................. 406
9.2.4 Kick – Grit ................................................................................................................. 407
9.2.5 Kick – Rasper ............................................................................................................ 410
9.2.6 Kick – Snappy ............................................................................................................ 411
9.2.7 Kick – Bold ................................................................................................................ 413
Table of Contents
9.2.8 Kick – Maple .............................................................................................................. 415

9.2.9 Kick – Push ............................................................................................................... 416
9.3 The Snares .................................................................................................................................. 418
9.3.1 Snare – Volt ............................................................................................................... 420
9.3.2 Snare – Bit ................................................................................................................ 422
9.3.3 Snare – Pow .............................................................................................................. 424
9.3.4 Snare – Sharp ........................................................................................................... 425
9.3.5 Snare – Airy ............................................................................................................... 427
9.3.6 Snare – Vintage ......................................................................................................... 429
9.3.7 Snare – Chrome ......................................................................................................... 431
9.3.8 Snare – Iron ............................................................................................................... 433
9.3.9 Snare – Clap ............................................................................................................. 435
9.3.10 Snare – Breaker ......................................................................................................... 437
9.4 The Hi-hats ................................................................................................................................. 439
9.4.1 Hi-hat – Silver ........................................................................................................... 440
9.4.2 Hi-hat – Circuit ......................................................................................................... 442
9.4.3 Hi-hat – Memory ........................................................................................................ 444
9.4.4 Hi-hat – Hybrid .......................................................................................................... 446
9.4.5 Creating a Pattern with Closed and Open Hi-hats ..................................................... 448
9.5 The Toms .................................................................................................................................... 449
9.5.1 Tom – Tronic .............................................................................................................. 451
9.5.2 Tom – Fractal ............................................................................................................ 453
9.5.3 Tom – Floor ................................................................................................................ 457
9.5.4 Tom – High ................................................................................................................ 459
9.6 The Percussions .......................................................................................................................... 460
9.6.1 Percussion – Fractal .................................................................................................. 462
Table of Contents
9.6.2 Percussion – Kettle .................................................................................................... 465

9.6.3 Percussion – Shaker .................................................................................................. 467
9.7 The Cymbals ............................................................................................................................... 471
9.7.1 Cymbal – Crash ......................................................................................................... 473
9.7.2 Cymbal – Ride ........................................................................................................... 475
10 Using the Bass Synth ................................................................................................. 478
10.1 Bass Synth – General Handling .................................................................................................. 479
10.1.1 Parameter Organization ............................................................................................. 479
10.1.2 Bass Synth Parameters ............................................................................................. 481
11 Working with Patterns ............................................................................................... 483
11.1 Pattern Basics ............................................................................................................................ 483
11.1.1 Pattern Editor Overview ............................................................................................. 484
11.1.2 Navigating the Event Area ......................................................................................... 490
11.1.3 Following the Playback Position in the Pattern .......................................................... 492
11.1.4 Jumping to Another Playback Position in the Pattern ................................................. 493
11.1.5 Group View and Keyboard View .................................................................................. 495
11.1.6 Adjusting the Arrange Grid and the Pattern Length ................................................... 497
11.1.7 Adjusting the Step Grid and the Nudge Grid .............................................................. 501
11.2 Recording Patterns in Real Time ................................................................................................ 505
11.2.1 Recording Your Patterns Live ..................................................................................... 505
11.2.2 The Record Prepare Mode .......................................................................................... 508
11.2.3 Using the Metronome ................................................................................................. 509
11.2.4 Recording with Count-in ............................................................................................ 510
11.2.5 Quantizing while Recording ....................................................................................... 512
11.3 Recording Patterns with the Step Sequencer .............................................................................. 512
11.3.1 Step Mode Basics ...................................................................................................... 512
Table of Contents
11.3.2 Editing Events in Step Mode ...................................................................................... 515

11.3.3 Recording Modulation in Step Mode .......................................................................... 517
11.4 Editing Events ............................................................................................................................ 518
11.4.1 Editing Events with the Mouse: an Overview ............................................................. 518
11.4.2 Creating Events/Notes ............................................................................................... 521
11.4.3 Selecting Events/Notes .............................................................................................. 522
11.4.4 Editing Selected Events/Notes ................................................................................... 530
11.4.5 Deleting Events/Notes ............................................................................................... 536
11.4.6 Cut, Copy, and Paste Events/Notes ............................................................................ 539
11.4.7 Quantizing Events/Notes ........................................................................................... 542
11.4.8 Quantization While Playing ........................................................................................ 544
11.4.9 Doubling a Pattern .................................................................................................... 545
11.4.10 Adding Variation to Patterns ..................................................................................... 545
11.5 Recording and Editing Modulation ............................................................................................. 550
11.5.1 Which Parameters Are Modulatable? ......................................................................... 551
11.5.2 Recording Modulation ................................................................................................ 552
11.5.3 Creating and Editing Modulation in the Control Lane ................................................ 554
11.6 Creating MIDI Tracks from Scratch in MASCHINE ....................................................................... 559
11.7 Managing Patterns ..................................................................................................................... 561
11.7.1 The Pattern Manager and Pattern Mode .................................................................... 562
11.7.2 Selecting Patterns and Pattern Banks ....................................................................... 564
11.7.3 Creating Patterns ...................................................................................................... 567
11.7.4 Deleting Patterns ....................................................................................................... 569
11.7.5 Creating and Deleting Pattern Banks ........................................................................ 570
11.7.6 Naming Patterns ....................................................................................................... 572
11.7.7 Changing the Pattern’s Color .................................................................................... 574
Table of Contents
11.7.8 Duplicating, Copying, and Pasting Patterns .............................................................. 575

11.7.9 Moving Patterns ........................................................................................................ 578
11.7.10 Adjusting Pattern Length in Fine Increments ............................................................. 579
11.8 Importing/Exporting Audio and MIDI to/from Patterns ................................................................ 580
11.8.1 Exporting Audio from Patterns ................................................................................... 580
11.8.2 Exporting MIDI from Patterns ..................................................................................... 581
11.8.3 Importing MIDI to Patterns ........................................................................................ 584
12 Audio Routing, Remote Control, and Macro Controls .................................................... 593
12.1 Audio Routing in MASCHINE ....................................................................................................... 594
12.1.1 Sending External Audio to Sounds ............................................................................. 595
12.1.2 Configuring the Main Output of Sounds and Groups ................................................. 600
12.1.3 Setting Up Auxiliary Outputs for Sounds and Groups ................................................. 605
12.1.4 Configuring the Master and Cue Outputs of MASCHINE ............................................. 609
12.1.5 Mono Audio Inputs ..................................................................................................... 614
12.1.5.1 Configuring External Inputs for Sounds in Mix View ..................................615
12.2 Using MIDI Control and Host Automation .................................................................................... 618
12.2.1 Triggering Sounds via MIDI Notes .............................................................................. 619
12.2.2 Triggering Scenes via MIDI ........................................................................................ 626
12.2.3 Controlling Parameters via MIDI and Host Automation .............................................. 627
12.2.4 Selecting VST/AU Plug-in Presets via MIDI Program Change ..................................... 635
12.2.5 Sending MIDI from Sounds ........................................................................................ 636
12.3 Creating Custom Sets of Parameters with the Macro Controls ................................................... 640
12.3.1 Macro Control Overview ............................................................................................. 641
12.3.2 Assigning Macro Controls Using the Software ........................................................... 642
12.3.3 Assigning Macro Controls Using the Controller .......................................................... 648
Table of Contents
13 Controlling Your Mix .................................................................................................. 650

13.1 Mix View Basics .......................................................................................................................... 650
13.1.1 Switching between Arrange View and Mix View ......................................................... 650
13.1.2 Mix View Elements ..................................................................................................... 651
13.2 The Mixer .................................................................................................................................... 653
13.2.1 Displaying Groups vs. Displaying Sounds .................................................................. 654
13.2.2 Adjusting the Mixer Layout ........................................................................................ 656
13.2.3 Selecting Channel Strips ........................................................................................... 657
13.2.4 Managing Your Channels in the Mixer ....................................................................... 658
13.2.5 Adjusting Settings in the Channel Strips ................................................................... 660
13.2.6 Using the Cue Bus ..................................................................................................... 664
13.3 The Plug-in Chain ....................................................................................................................... 666
13.4 The Plug-in Strip ........................................................................................................................ 667
13.4.1 The Plug-in Header .................................................................................................... 669
13.4.2 Panels for Drumsynths and Internal Effects .............................................................. 671
13.4.3 Panel for the Sampler ................................................................................................ 672
13.4.4 Custom Panels for Native Instruments Plug-ins ........................................................ 675
13.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only) ............ 679
13.5 Controlling Your Mix from the Controller ..................................................................................... 681
13.5.1 Navigating Your Channels in Mix Mode ..................................................................... 682
13.5.2 Adjusting the Level and Pan in Mix Mode .................................................................. 683
13.5.3 Mute and Solo in Mix Mode ........................................................................................ 684
13.5.4 Plug-in Icons in Mix Mode .......................................................................................... 684
14 Using Effects ............................................................................................................. 685
14.1 Applying Effects to a Sound, a Group or the Master .................................................................... 685
14.1.1 Adding an Effect ........................................................................................................ 685
Table of Contents
14.1.2 Other Operations on Effects ....................................................................................... 694

14.1.3 Using the Side-Chain Input ....................................................................................... 696
14.2 Applying Effects to External Audio .............................................................................................. 699
14.2.1 Step 1: Configure MASCHINE Audio Inputs ................................................................ 699
14.2.2 Step 2: Set up a Sound to Receive the External Input ................................................ 702
14.2.3 Step 3: Load an Effect to Process an Input ................................................................ 704
14.3 Creating a Send Effect ............................................................................................................... 705
14.3.1 Step 1: Set Up a Sound or Group as Send Effect ........................................................ 706
14.3.2 Step 2: Route Audio to the Send Effect ...................................................................... 710
14.3.3 A Few Notes on Send Effects ...................................................................................... 712
14.4 Creating Multi-Effects ................................................................................................................ 713
15 Effect Reference ........................................................................................................ 716
15.1 Dynamics .................................................................................................................................... 717
15.1.1 Compressor ............................................................................................................... 717
15.1.2 Gate ........................................................................................................................... 721
15.1.3 Transient Master ....................................................................................................... 725
15.1.4 Limiter ....................................................................................................................... 727
15.1.5 Maximizer .................................................................................................................. 731
15.2 Filtering Effects .......................................................................................................................... 734
15.2.1 EQ .............................................................................................................................. 734
15.2.2 Filter .......................................................................................................................... 737
15.2.3 Cabinet ...................................................................................................................... 741
15.3 Modulation Effects ..................................................................................................................... 742
15.3.1 Chorus ....................................................................................................................... 742
15.3.2 Flanger ...................................................................................................................... 744
15.3.3 FM ............................................................................................................................. 746
Table of Contents
15.3.4 Freq Shifter ................................................................................................................ 747

15.3.5 Phaser ....................................................................................................................... 749
15.4 Spatial and Reverb Effects ......................................................................................................... 751
15.4.1 Ice ............................................................................................................................. 751
15.4.2 Metaverb ................................................................................................................... 753
15.4.3 Reflex ........................................................................................................................ 754
15.4.4 Reverb (Legacy) ......................................................................................................... 756
15.4.5 Reverb ....................................................................................................................... 758
15.4.5.1 Reverb Room .............................................................................................758
15.4.5.2 Reverb Hall ................................................................................................761
15.4.5.3 Plate Reverb ..............................................................................................764
15.5 Delays ......................................................................................................................................... 766
15.5.1 Beat Delay ................................................................................................................. 766
15.5.2 Grain Delay ................................................................................................................ 769
15.5.3 Grain Stretch ............................................................................................................. 771
15.5.4 Resochord .................................................................................................................. 773
15.6 Distortion Effects ........................................................................................................................ 775
15.6.1 Distortion ................................................................................................................... 775
15.6.2 Lofi ............................................................................................................................ 778
15.6.3 Saturator ................................................................................................................... 779
15.7 Perform FX .................................................................................................................................. 783
15.7.1 Filter .......................................................................................................................... 784
15.7.2 Flanger ...................................................................................................................... 786
15.7.3 Burst Echo ................................................................................................................. 789
15.7.4 Reso Echo .................................................................................................................. 791
15.7.5 Ring ........................................................................................................................... 794
Table of Contents
15.7.6 Stutter ....................................................................................................................... 796

15.7.7 Tremolo ...................................................................................................................... 799
15.7.8 Scratcher ................................................................................................................... 802
16 Working with the Arranger ......................................................................................... 805
16.1 Arranger Basics .......................................................................................................................... 805
16.1.1 Navigating Song View ................................................................................................ 808
16.1.2 Following the Playback Position in Your Project ......................................................... 810
16.1.3 Performing with Scenes and Sections using the Pads ............................................... 811
16.2 Using Ideas View ........................................................................................................................ 815
16.2.1 Scene Overview .......................................................................................................... 815
16.2.2 Creating Scenes ........................................................................................................ 817
16.2.3 Assigning and Removing Patterns ............................................................................. 817
16.2.4 Selecting Scenes ....................................................................................................... 821
16.2.5 Deleting Scenes ......................................................................................................... 822
16.2.6 Creating and Deleting Scene Banks .......................................................................... 824
16.2.7 Clearing Scenes ......................................................................................................... 824
16.2.8 Duplicating Scenes .................................................................................................... 825
16.2.9 Reordering Scenes ..................................................................................................... 826
16.2.10 Making Scenes Unique .............................................................................................. 828
16.2.11 Appending Scenes to Arrangement ............................................................................ 829
16.2.12 Naming Scenes .......................................................................................................... 830
16.2.13 Changing the Color of a Scene .................................................................................. 831
16.3 Using Song View ......................................................................................................................... 832
16.3.1 Section Management Overview .................................................................................. 832
16.3.2 Creating Sections ...................................................................................................... 837
16.3.3 Assigning a Scene to a Section .................................................................................. 838
Table of Contents
16.3.4 Selecting Sections and Section Banks ....................................................................... 839

16.3.5 Reorganizing Sections ............................................................................................... 843
16.3.6 Adjusting the Length of a Section .............................................................................. 844
16.3.6.1 Adjusting the Length of a Section Using the Software ...............................845
16.3.6.2 Adjusting the Length of a Section Using the Controller .............................847
16.3.7 Clearing a Pattern in Song View ................................................................................ 847
16.3.8 Duplicating Sections ................................................................................................. 848
16.3.8.1 Making Sections Unique ............................................................................849
16.3.9 Removing Sections .................................................................................................... 850
16.3.10 Renaming Scenes ...................................................................................................... 852
16.3.11 Clearing Sections ...................................................................................................... 853
16.3.12 Creating and Deleting Section Banks ........................................................................ 854
16.3.13 Working with Patterns in Song view ........................................................................... 854
16.3.13.1 Creating a Pattern in Song View ................................................................854
16.3.13.2 Selecting a Pattern in Song View ...............................................................854
16.3.13.3 Clearing a Pattern in Song View ................................................................855
16.3.13.4 Renaming a Pattern in Song View .............................................................855
16.3.13.5 Coloring a Pattern in Song View ................................................................855
16.3.13.6 Removing a Pattern in Song View ..............................................................856
16.3.13.7 Duplicating a Pattern in Song View ...........................................................856
16.3.14 Enabling Auto Length ................................................................................................ 856
16.3.15 Looping ...................................................................................................................... 857
16.3.15.1 Setting the Loop Range in the Software .....................................................858
16.4 Playing with Sections ................................................................................................................. 859
16.4.1 Jumping to another Playback Position in Your Project ............................................... 859
16.5 Triggering Sections or Scenes via MIDI ....................................................................................... 860
Table of Contents
16.6 The Arrange Grid ......................................................................................................................... 862

16.7 Quick Grid ................................................................................................................................... 864
17 Sampling and Sample Mapping .................................................................................. 866
17.1 Opening the Sample Editor ......................................................................................................... 866
17.2 Recording Audio ......................................................................................................................... 867
17.2.1 Opening the Record Page .......................................................................................... 867
17.2.2 Selecting the Source and the Recording Mode ........................................................... 869
17.2.3 Arming, Starting, and Stopping the Recording .......................................................... 872
17.2.5 Using the Footswitch for Recording Audio ................................................................. 875
17.2.6 Checking Your Recordings ......................................................................................... 876
17.2.7 Location and Name of Your Recorded Samples .......................................................... 880
17.3 Editing a Sample ........................................................................................................................ 880
17.3.1 Using the Edit Page ................................................................................................... 881
17.3.2 Audio Editing Functions ............................................................................................. 886
17.4 Slicing a Sample ........................................................................................................................ 894
17.4.1 Opening the Slice Page .............................................................................................. 895
17.4.2 Adjusting the Slicing Settings ................................................................................... 897
17.4.3 Live Slicing ................................................................................................................ 902
17.4.3.1 Live Slicing Using the Controller ................................................................902
17.4.3.2 Delete All Slices .........................................................................................903
17.4.4 Manually Adjusting Your Slices ................................................................................. 903
17.4.5 Applying the Slicing ................................................................................................... 910
17.5 Mapping Samples to Zones ........................................................................................................ 916
17.5.1 Opening the Zone Page .............................................................................................. 916
17.5.2 Zone Page Overview ................................................................................................... 917
17.5.3 Selecting and Managing Zones in the Zone List ........................................................ 919
Table of Contents
17.5.4 Selecting and Editing Zones in the Map View ............................................................ 924
17.5.5 Editing Zones in the Sample View ............................................................................. 928
17.5.6 Adjusting the Zone Settings ...................................................................................... 931
17.5.7 Adding Samples to the Sample Map .......................................................................... 938
18 Appendix: Tips for Playing Live .................................................................................. 941
18.1 Preparations ............................................................................................................................... 941
18.1.1 Focus on the Hardware .............................................................................................. 941
18.1.2 Customize the Pads of the Hardware ......................................................................... 941
18.1.3 Check Your CPU Power Before Playing ....................................................................... 941
18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes ..................................... 942
18.1.5 Consider Using a Limiter on Your Master ................................................................... 942
18.1.6 Hook Up Your Other Gear and Sync It with MIDI Clock ................................................ 942
18.1.7 Improvise ................................................................................................................... 942
18.2 Basic Techniques ....................................................................................................................... 942
18.2.1 Use Mute and Solo ..................................................................................................... 942
18.2.2 Use Scene Mode and Tweak the Loop Range .............................................................. 943
18.2.3 Create Variations of Your Drum Patterns in the Step Sequencer ................................ 943
18.2.4 Use Note Repeat ........................................................................................................ 943
18.2.5 Set Up Your Own Multi-effect Groups and Automate Them ........................................ 943
18.3 Special Tricks ............................................................................................................................. 944
18.3.1 Changing Pattern Length for Variation ...................................................................... 944
18.3.2 Using Loops to Cycle Through Samples ..................................................................... 944
18.3.3 Using Loops to Cycle Through Samples ..................................................................... 944
18.3.4 Load Long Audio Files and Play with the Start Point .................................................. 944
19 Troubleshooting ........................................................................................................ 945
19.1 Knowledge Base ......................................................................................................................... 945
Table of Contents
19.2 Technical Support ....................................................................................................................... 945

19.3 Registration Support .................................................................................................................. 946
19.4 User Forum ................................................................................................................................. 946
20 Glossary ................................................................................................................... 947
Index ........................................................................................................................ 955
Welcome to MASCHINE
1 Welcome to MASCHINE
Thank you for buying MASCHINE!

MASCHINE is a groove production studio that implements the familiar working style of classi-
cal groove boxes along with the advantages of a computer based system. MASCHINE is ideal
for making music live, as well as in the studio. It’s the hands-on aspect of a dedicated instru-
ment, the MASCHINE hardware controller, united with the advanced editing features of the
MASCHINE software.
Creating beats is often not very intuitive with a computer, but using the MASCHINE hardware
controller to do it makes it easy and fun. You can tap in freely with the pads or use Note Re-
peat to jam along. Alternatively, build your beats using the step sequencer just as in classic
drum machines.
Patterns can be intuitively combined and rearranged on the fly to form larger ideas. You can try
out several different versions of a song without ever having to stop the music.
Since you can integrate it into any sequencer that supports VST, AU, or AAX plug-ins, you can
reap the benefits in almost any software setup, or use it as a stand-alone application. You can
sample your own material, slice loops and rearrange them easily.
However, MASCHINE is a lot more than an ordinary groovebox or sampler: it comes with an
inspiring 7-gigabyte library, and a sophisticated, yet easy to use tag-based Browser to give you
instant access to the sounds you are looking for.
What’s more, MASCHINE provides lots of options for manipulating your sounds via internal ef-
fects and other sound-shaping possibilities. You can also control external MIDI hardware and
3rd-party software with the MASCHINE hardware controller, while customizing the functions of
the pads, knobs and buttons according to your needs utilizing the included Controller Editor
application. We hope you enjoy this fantastic instrument as much as we do. Now let’s get go-
ing!
—The MASCHINE team at Native Instruments.
Welcome to MASCHINE
MASCHINE Documentation
1.1 MASCHINE Documentation

Native Instruments provide many information sources regarding MASCHINE. The main docu-
ments should be read in the following sequence:
1. MASCHINE Getting Started: This document provides a practical approach to MASCHINE via
a set of tutorials covering easy and more advanced tasks in order to help you familiarize
yourself with MASCHINE.
2. MASCHINE Manual (this document): The MASCHINE Manual provides you with a compre-
hensive description of all MASCHINE software and hardware features.
Additional documentation sources provide you with details on more specific topics:
▪ Controller Editor Manual: Besides using your MASCHINE hardware controller together with
its dedicated MASCHINE software, you can also use it as a powerful and highly versatile
MIDI controller to pilot any other MIDI-capable application or device. This is made possible
by the Controller Editor software, an application that allows you to precisely define all MIDI
assignments for your MASCHINE controller. The Controller Editor was installed during the
MASCHINE installation procedure. For more information on this, please refer to the Con-
troller Editor Manual available as a PDF file via the Help menu of Controller Editor.
▪ Online Support Videos: You can find a number of support videos on The Official Native In-
struments Support Channel under the following URL: https://www.youtube.com/NIsupport-
EN. We recommend that you follow along with these instructions while the respective ap-
plication is running on your computer.
Other Online Resources: If you are experiencing problems related to your Native Instruments
product that the supplied documentation does not cover, there are several ways of getting help:
▪ Knowledge Base
▪ User Forum
▪ Technical Support
▪ Registration Support
You will find more information on these subjects in the chapter Troubleshooting.
Welcome to MASCHINE
Document Conventions
MASCHINE documents are available in PDF. You can also access these documents from the appli-
cation’s Help menu or the following location:
www.native-instruments.com.
Please check the Native Instruments website regularly for up-to-date and localized versions of these
documents.
1.2 Document Conventions

This section introduces you to the signage and text highlighting used in this manual. This man-
ual uses particular formatting to point out special facts and to warn you of potential issues.
The icons introducing these notes let you see what kind of information is to be expected:
This document uses particular formatting to point out special facts and to warn you of poten-
tial issues. The icons introducing the following notes let you see what kind of information can
be expected:
The speech bubble icon indicates a useful tip that may often help you to solve a task more effi-
ciently.
The exclamation mark icon highlights important information that is essential for the given context.
The red cross icon warns you of serious issues and potential risks that require your full attention.
Furthermore, the following formatting is used:

▪ Text appearing in (drop-down) menus (such as Open…, Save as… etc.) in the software and
paths to locations on your hard disk or other storage devices is printed in italics.
▪ Text appearing elsewhere (labels of buttons, controls, text next to checkboxes etc.) in the
software is printed in blue. Whenever you see this formatting applied, you will find the
same text appearing somewhere on the screen.
Welcome to MASCHINE
Document Conventions
▪ Text appearing on the displays of the controller is printed in light grey. Whenever you see
this formatting applied, you will find the same text on a controller display.
▪ Text appearing on labels of the hardware controller is printed in orange. Whenever you see
this formatting applied, you will find the same text on the controller.
▪ Important names and concepts are printed in bold.
▪ References to keys on your computer’s keyboard you’ll find put in square brackets (e.g.,
“Press [Shift] + [Enter]”).
► Single instructions are introduced by this play button type arrow.
→ Results of actions are introduced by this smaller arrow.
Naming Convention
Throughout the documentation we will refer to MASCHINE controller (or just controller) as the
hardware controller and MASCHINE software as the software installed on your computer.
The term “effect” will sometimes be abbreviated as “FX” when referring to elements in the MA-
SCHINE software and hardware. These terms have the same meaning.
Button Combinations and Shortcuts on Your Controller

Most instructions will use the “+” sign to indicate buttons (or buttons and pads) that must be
pressed simultaneously, starting with the button indicated first. E.g., an instruction such as:
“Press SHIFT + PLAY”
means:
1. Press and hold SHIFT.
2. While holding SHIFT, press PLAY and release it.
3. Release SHIFT.
Unlabeled Buttons on the Controller

The buttons and knobs above and below the displays on your MASCHINE controller do not
have labels.
Welcome to MASCHINE
New Features in MASCHINE 2.7.10
1 2 3 4 5 6 7 8
1 2 3 4 5 6 7 8
The unlabeled buttons and knobs on the MASCHINE controller.
For better reference, we applied a special formatting here: throughout the document, the ele-
ments are capitalized and numbered, so the buttons above the displays are written Button 1 to
Button 8, while the knobs under the displays are written Knob 1 to Knob 8. E.g., whenever you
see an instruction such as “Press Button 2 to open the EDIT page,” you’ll know it’s the second
button from the left above the displays.
1.3 New Features in MASCHINE 2.7.10

The following new features have been added to MASCHINE:
New Hardware Support

▪ Support for KOMPLETE KONTROL A-Series keyboards.
Welcome to MASCHINE
Audio Plug-in Improvements

▪ Added Edit Tab to Audio plug-in: Like the Sampler plug-in, you can now perform destruc-
tive audio edits to loops loaded into the Audio plug-in via the new Edit tab.
▪ Added Usable Play Range for Audio plug-in: in the Edit tab of the Audio plug-in, there are
now Playable Range Start and End markers which can be used to isolate only a portion of
the loaded audio file that you wish to loop. The timeline along the top of the waveform now
shows musical units rather than samples.
For more information on editing audio, refer to ↑8, Using the Audio Plug-in.
General Improvements
▪ Items can now be dragged from the Browser to external locations.

New Hardware Support

▪ Support for KOMPLETE KONTROL S88 MK2
▪ Support for MASCHINE MIKRO MK3 hardware

Audio plug-in Improvements

▪ Added a Formant mode to the Audio plug-in which preserves formants when pitching an
audio loop up or down. This can be particularly useful when working with vocal material.
For more information, refer to ↑8, Using the Audio Plug-in.
▪ The Engine Modes are now listed in order of CPU load, from lowest (Re-pitch) to highest
(Formant).
Welcome to MASCHINE
▪ The Take Recording workflow has been improved by muting the previously-playing Take
when you trigger a new recording so you're not distracted hearing the old Take while trying
to record a new one. If you abort the recording, the previously-playing Take will be restored.
▪ The Pattern Recording workflow has been improved by muting the previously-playing Pat-
tern when you trigger a new recording so you're not distracted hearing the old Pattern while
trying to record a new one. If you abort the recording, the previously-playing Pattern will be
restored.
▪ When you drag a bounced audio file from the Pattern Editor dragger to a Sound Slot or
Group, MASCHINE will now load this into an Audio plug-in instead of a Sampler.
▪ When Exporting loop content from MASCHINE, the Project Tempo will now be written into
the files. MASCHINE will read this tempo when later loading this file into the Audio plug-
in.
▪ MASCHINE now writes both the Tempo and Loop tags to recordings made with Loop mode.
Tempo is attached to recordings made in Sync mode. These recordings will therefore al-
ways be in sync with the project when loading them into an Audio plug-in.
Pattern Editor
▪ The number of tools available in the software for editing the Patterns has been reduced
due to redundant functionality. Instead of an arrow, a pencil, and an eraser, there is now
just a pencil tool which can be toggled on and off. When the pencil is off, the mouse will
behave as it did when using the arrow tool (and the mouse will look like a normal arrow in
this mode). When the pencil is on, this enables the same pencil/paint functionality as be-
fore (and the mouse will look like a pencil when in this mode). For more information, see
↑11.4.1, Editing Events with the Mouse: an Overview.
▪ There are some changes to keyboard shortcut behavior as they relate to view switching in
the pattern editor:
◦ W = toggle between Group view and Keyboard view
◦ S = toggle Sampling view on/off
◦ E = toggle Pencil/Paint on/off
Welcome to MASCHINE
Recording
▪ You can now engage count-in recording from the software while the playhead is moving via
Command + Shift + Space (macOS) or Ctrl + Shift + Space (Windows).
▪ There are now previews of all Groups/Kits and Sounds in the MASCHINE Factory Library. In
order for the previews to be available, you must first install the Factory Library v1.3.2 up-
date.
▪ The "Use latest version of NI plug-ins" preference has had its functionality extended to
project loading (previously, it was limited to the loading of presets). For example, if you
made a project that used REAKTOR 5 but you also have REAKTOR 6 installed, enabling
this preference will cause REAKTOR 6 to be loaded in all instances when loading up the
project. When running in Standalone mode, a dialog box will be presented showing which
plug-ins were updated. This function will also happen automatically if you only have the
newest plug-in version installed, regardless of whether the preference is enabled or not, to
ensure you can load the older project rather than getting the annoying "Could not load 1 or
more plug-ins" error. For more information, see ↑3.7.6, Preferences – Plug-ins Page.


▪ Added a new Target parameter to the Loop recording mode of the Sampling Page which de-
termines what should be done with a new recording when the recording is complete. Take
simply adds the new recording to the Audio Pool of the current plug-in, Sound puts the
new recording into an Audio plug-in in the next unoccupied Sound Slot (useful for layering
the recording with whatever else is in the current Pattern, like a guitar looper pedal), and
Pattern puts the new recording into an Audio plug-in in the next unoccupied Sound Slot
and additionally creates a new Pattern where only this loop is being played (useful for cap-
turing different versions of a part and quickly reviewing them by switching Patterns). For
more information, refer to ↑17.2, Recording Audio.
Welcome to MASCHINE
▪ Added a new workflow to MASCHINE JAM which automates the use of the new Target pa-
rameter for fast sampling and layering. Holding the IN 1 button enables this new Loop Re-
cording mode (it’s also helpful to pin this mode on by holding IN 1 and pressing the SONG
button). While this new Loop Recording mode is active, pressing an existing Pattern will
trigger a recording of a new loop which is then added as a new Sound in the existing Pat-
tern; doing this repeatedly allows you to quickly layer recordings on top of each other. Al-
ternatively, pressing an empty Pattern button will trigger a recording and will then place
that recording in a new Sound Slot and a new Pattern will be created where only the new
loop is playing back. When pressing the IN 1 button, External Input 1 is selected as the
source for the recording. Pressing GRP while in the Loop Recording mode will select the
focused Group as the source. Pressing MST will select MASCHINE’s Master output as the
source (for resampling what is currently playing). For more information, refer to the MA-
SCHINE JAM Manual available from Help menu.
▪ Added footswitch control of Sampling. When in the Sampling page, or when the Loop Re-
cording mode is enabled on MASCHINE JAM, a connected footswitch can be used to con-
trol recording. Pressing the footswitch will arm a recording according to the current set-
tings. Pressing the footswitch again before recording has actually started will cancel the re-
cording. If recording is in progress, pressing the footswitch once will stop the recording,
double-pressing will abort the recording (any recorded audio to that point will be discard-
ed). If the recording is complete, holding the footswitch down for a few moments will trig-
ger Undo so you can try another take. For more information, refer to the MASCHINE JAM
Manual available from Help menu, or to the following section when using MASCHINE MK3
or MASCHINE STUDIO: ↑17.2.5, Using the Footswitch for Recording Audio.
▪ Improved the automatic tempo detection of the Audio plug-in so that it now chooses a tem-
po that’s closest to your current project tempo. For example, if your project tempo is 170
BPM and you load a loop which should be 174 BPM, MASCHINE will now set the Source
Tempo as 174 BPM instead of 87 BPM as it did previously.
▪ Added a Re-Pitch sync mode to the Audio plug-in which simply retunes/repitches the loop
(like speeding up or slowing down a record) to make it conform to the Project tempo. This
mode requires significantly less CPU power than the default mode, but you will not be able
to retune the loop at all (any pitches programmed in Gate mode will be ignored—only the
timing of the programmed notes will be used to gate the playing audio). For more informa-
tion refer to ↑8, Using the Audio Plug-in.
Welcome to MASCHINE
MASCHINE MK3 Improvements

▪ Added Ableton Live DAW Integration for MASCHINE MK3 - Mixer and basic DAW Control.
Access Ableton Live Mixer via MASCHINE MK3 hardware: Volume, Pan, Mute / Solo / Arm
states are visible on screens. Also access essential controls: Play / Stop / Record / Session
record, Clip Navigation, Launch & Record, Quantize, Undo / Redo, Automation Toggle, Tap
Tempo, and Loop Toggle. For more information refer to ↑3.6, Host Integration.
▪ Improved the Take management system (previously called “Recording History”) for the
Sampler and Audio plug-ins such that Takes are now saved and recalled as part of the
Project.
▪ Improved external audio recording by implementing basic recording latency compensation.
This compensation will be in effect when recording from an External Input and with the
Monitoring parameter turned Off. The system currently works based upon the overall laten-
cy reported by the selected audio interface.
▪ Removed the function where a right click will remove Events in the Pattern Editor. Instead,
the context menu is opened. Events can still be deleted using double-click as well as using
the "Paint" and "Erase" tools. For more information refer to ↑11.4.5, Deleting Events/Notes.
▪ Changed the behavior of right-click in the Arranger. This no longer removes Patterns from
Scenes. It now opens a context menu with many useful options for arranging. For more in-
formation on using the Pattern context menu within Song view refer to ↑16.3.13, Working
with Patterns in Song view.
▪ Improved behavior and cursor icons for resizing Events in the Pattern Editor. The active
area for resizing Events is increased.

Welcome to MASCHINE

▪ Added the ability to enable and disable Audio plug-in playback per Pattern when in Loop
mode. Double-clicking the waveform will toggle playback for the selected Pattern. Alterna-
tively, the loops can be enabled or disabled via the STEP page on the hardware controllers.
For more details see ↑8.3, Using Loop Mode.
▪ Added a Loop recording mode to the Record tab, and the Record tab is now available for
both Sampler and Audio plug-ins. When choosing the new Loop mode, the start of record-
ing will be quantized to the start of the Pattern. Furthermore, when the recording is com-
plete, the loop will automatically be loaded into an Audio plug-in and will immediately be-
gin playback. For more details see ↑17.2, Recording Audio.
MASCHINE Controller Improvements

▪ Added Ideas View on MASCHINE MK3 and MASCHINE STUDIO. Access Ideas view with
the MASCHINE MK3 hardware. For more details see ↑16.2, Using Ideas View.
▪ Added Event Editing on MASCHINE MK3 with 4-Directional Encoder. Select, nudge, pitch-
shift and change the length of notes with the 4-Directional Encoder in the events window
(on hardware screens). For more details see ↑11.4, Editing Events.
▪ Added Apple Logic DAW Integration for MASCHINE MK3, Mixer and basic DAW Control.
◦ Access Logic Mixer via MASCHINE MK3 hardware (Volume, Pan, Mute / Solo states
are visible on screens).
◦ Access Essential Controls: Play / Stop / Record / Quantize, Undo / Redo, Automation
Toggle, Tap Tempo, and Loop Toggle.
▪ Added Apple Logic DAW Integration for MASCHINE MK3, Mixer and basic DAW Control.
For more details, see ↑3.6, Host Integration.
◦ Access Logic Mixer via MASCHINE MK3 hardware (Volume, Pan, Mute / Solo states
are visible on screens).
◦ Access Essential Controls: Play / Stop / Record / Quantize, Undo / Redo, Automation
Toggle, Tap Tempo, and Loop Toggle.
Welcome to MASCHINE
▪ Added additional Scales from KOMPLETE KONTROL into MASCHINE. For more details see
↑6.4.2, Selecting a Scale and Creating Chords.
▪ Added loading of Perform FX at the end of a Group plug-in chain.
▪ Fixed an issue the broke Pattern Duplicate on the MASCHINE MIKRO.
▪ Fixed an issue where the MASCHINE Transport Loop would influence Ideas View playback
when hosted in a DAW.
▪ Fixed a crash that could occur when zooming horizontally in the Arranger with special char-
acters in Section names.
▪ Fixed some issues around renaming Scenes and Sections.
▪ Removed 32-bit versions of standalone application and plug-in.
▪ Added Velocity Curves to Controller Editor for MASCHINE MK3.
▪ Removed the modal dialog at startup that suggests to download sound preview files from
Native Access. The preview files are still available for installation in Native Access.
Quick Reference
Using Your Controller
2 Quick Reference
This chapter introduces you to the main areas and concepts of MASCHINE. In the following
sections, you will find:
▪ Information that will help you in your every-day work with your controller (↑2.1, Using Your
Controller).
▪ An overview of a MASCHINE Project and a description of both its structure and content
(↑2.2, MASCHINE Project Overview).
▪ A basic reference of your hardware controller, naming and quickly describing each of its
control elements (↑2.3, MASCHINE Hardware Overview).
▪ A basic reference of the MASCHINE software (↑2.4, MASCHINE Software Overview).
For a comprehensive description of every feature and setting, please refer to the Manual.
2.1 Using Your Controller

This section provides useful information for your every-day work with the MASCHINE control-
ler.
For a complete reference of all shortcuts available on your controller, please refer to the Manual.
2.1.1 Controller Modes and Mode Pinning

The controller has different modes of operation.
In addition to the default Control mode (in which the pads trigger your Sounds), there are
many other modes for accomplishing various tasks. These modes are enabled by specific but-
tons on your controller (e.g., SCENE, CHORDS, BROWSER, etc.).
Quick Reference
For some of these modes, you need to hold the button to keep the mode active. For example,
when you press the SOLO button, the displays will show Solo-specific control options; when
you release it, the controller switches back to the previous mode.
The buttons that are required to be held are in the middle column of your controller (left of the
pads) along with the NOTE REPEAT and AUTO button:
By default, each of these buttons needs to be held in order to use the corresponding mode.
Pinning the Controller Modes

You can also pin (i.e. lock) controller modes, so the controller doesn’t switch back when releas-
ing a mode button:
1. Press and hold a controller mode button, e.g., PATTERN.
2. Press Button 1 above the left display.
Quick Reference
→ On the left screen, the PATTERN label under Button 1 gets highlighted. You can release
the PATTERN button: The controller will remain in Pattern mode until you press PAT-
TERN again.
Once a mode has been pinned your controller will automatically pin the mode next time it is press-
ed.
You can unpin the active mode by pressing Button 1 again.

Here is a list of all buttons on your controller that you can pin by pressing Button 1 simultane-
ously:
▪ All buttons in the column at the left of the pads (SCENE, PATTERN, …, SOLO, MUTE).
▪ NOTE REPEAT (Arp) button: Both Note Repeat mode (for pads in Group mode) and Arp
mode (for pads in Keyboard or Chords mode) can be pinned.
▪ FOLLOW (Grid) and VARIATION (Navigate) buttons: These buttons respectively switch to
Grid and Navigate mode when pressed with SHIFT simultaneously. These modes are al-
ready pinned by default. You can unpin them and pin them again as usual by pressing But-
ton 1.
▪ AUTO button: Instead of using Button 1, press SHIFT + AUTO to pin the AUTO mode.
Moreover, when you leave this mode it is automatically unpinned — it will be temporary
again next time you press AUTO.
2.1.2 Controlling the Software Views from Your Controller

Your controller provides you with numerous shortcuts to modify the display in the MASCHINE
software window without having to touch your mouse.
To control the software views using the controller:
► Press SHIFT + VARIATION (Navigate) button to enter Navigate mode.
→ The Navigate screens appear.
Quick Reference
You can unpin the Navigate mode by pressing Button 1 (it is pinned by default). When Navigate
mode is unpinned, the controller directly switches back to its previous mode when you release the
VARIATION button. In some cases, this can be useful to quickly adjust software views without inter-
rupting your workflow. For more information on mode pinning, see ↑2.1.1, Controller Modes and
Mode Pinning.
Navigate mode provides you controls for general navigation (default) and for page navigation.
General Navigation
Navigate mode: general navigation.
Use the Buttons 1–8 above the displays to adjust software views:
Action Shortcut
Select Ideas view Button 2 (IDEAS)
Select Song view Button 3 (SONG)
Show/hide Mixer view Button 4 (MIXER)
Show/hide Browser Button 5 (BROWSER)
Compact/expanded Mixer (Mixer view only) Button 6 (EXPANDED)
Show/hide Modulation Lane (Ideas/Song view only) Button 7 (MOD)
Enable/disable Follow Button 8 (FOLLOW)
Use the Knobs 1–8 under the displays to adjust scroll and zoom settings:
Quick Reference
Action Shortcut
Zoom Arranger in/out (Song view only) Knob 1 (Timeline ZOOM)
Scroll Arranger left/right (Song view only) Knob 2 (Timeline SCROLL)
Zoom Pattern Editor in/out Knob 5 (Pattern ZOOM)
Scroll Pattern Editor left/right Knob 6 (Pattern SCROLL)
The pads also allow you to adjust scroll and zoom settings:
Action Shortcut
Scroll Pattern Editor left Pad 1
Scroll Pattern Editor right Pad 3
Zoom out Pattern Editor Pad 2
Zoom in Pattern Editor Pad 6
Scroll Arranger left (Song view only) Pad 9
Scroll Arranger right (Song view only) Pad 11
Zoom in Arranger (Song view only) Pad 14
Zoom out Arranger (Song view only) Pad 10
Page Navigation
Page navigation lets you select Plug-ins and Channel properties along with their respective pa-
ges of parameters.
► Press SHIFT + Button 2 (PAGE NAV) to switch to page navigation.
Quick Reference
MASCHINE Project Overview
Navigate mode: page navigation.
Use Buttons 5–8 above the right display along with the pads to select the desired parameter
page:
Action Shortcut
Select Plug-in (from the Plug-in list) / Button 5 and 6
Select Channel properties (Input, Output, Groove or Macro)
Select Page Bank Button 7 and 8
Select parameter page Pads
► To exit page navigation, press the lit Button 2 (PAGE NAV).
2.2 MASCHINE Project Overview

A MASCHINE Project contains all the information stored with a MASCHINE-produced piece of
music.
▪ The Project references all the sound content: the instruments, sounds and samples, and all
the effects that you apply to them.
▪ The Project also contains the arrangement of your song: how Patterns are built from events
which trigger Sounds, and how they are arranged into a song structure using Scenes and
Sections.
The following section will explain these two aspects in detail.
Quick Reference
2.2.1 Sound Content

The sound content aspect of a MASCHINE Project includes all the instruments and effects
contained in your Project file, and how these are structured.
1
3
2
The sound content aspect of a MASCHINE Project with Ideas view selected.
▪ Groups (1) are available in Banks. Each Bank contains eight Groups (A-H) and each Group
contains sixteen Sound slots (1–16) (2). Each Sound slot can be filled with samples or
plug-ins.
▪ You can influence the sound on these three channels: the Project (or Master) channel, the
Group channel, and the Sound channel. The relevant controls are situated in the Control
area (3), which can be used for accessing Plug-in parameters or Channel properties.
Quick Reference
▪ The Control area has three tabbed sections corresponding to each channel: MASTER,
GROUP, and SOUND.
◦ The controls in the SOUND section affect the sound of the selected Sound (1–16).
◦ The controls in the GROUP section affect the sound of the selected Group (A–H), i.e.
the sound of all its Sound slots.
◦ The controls in the MASTER section affect the sound at the main outputs of MA-
SCHINE, i.e. the sound of all Groups and all Sounds.
2.2.2 Arrangement
The MASCHINE Project is about building patterns, and putting those patterns into a loop or a
song structure. In MASCHINE, the process of creating ideas is separated from the process of
arrangement to provide a more flexible and creative approach. To reflect this the Arrangement
area is split into two views: Ideas view and Song view which you can easily switch between us-
ing your controller. The two views reflect the same content but in different ways.
Ideas View
The Ideas view is best equipped to help you develop your Patterns and Scenes. Here you cre-
ate and record your Patterns and then combine them by assigning them to Scenes. Once you
have created a number of Scenes that are ready to be arranged you can add them to the Song
view.
Quick Reference
1 2 3
7 6
The Ideas view of a MASCHINE Project optimized for creating Patterns and building Scenes.
The workflow of creating ideas in MASCHINE is as follows:

▪ You load samples or plug-ins into the Sound slots (7) of the selected Group (2).
▪ You record instances of your Sounds by playing the pads (1-16). A recorded instance of a
Sound is called an event (6).
▪ Together, the events add up to a Pattern (1) for the selected Group.
▪ All of this takes place in the Pattern Editor (5), where you can create several Patterns for
each of your Groups.
Quick Reference
▪ In the upper half of the software, the Ideas view (4) allows you to combine your Patterns
from each Group.
▪ Here you combine your Patterns (1) into Scenes (3).
Song view
In the Song view Scenes are assigned to Sections and placed on the Timeline of the Arranger,
where you can move them around to develop an arrangement.
1 2
The Song view of a MASCHINE Project.
The workflow of creating an arrangement in MASCHINE is as follows:

▪ Create Sections on the Timeline of the Arranger (1).
▪ Assign each Scene to a Section (2).
Quick Reference
MASCHINE Hardware Overview
▪ Change the position of a Section by dragging the Sections slot.
2.3 MASCHINE Hardware Overview
2.3.1 MASCHINE Hardware Overview

This section quickly describes the areas and control elements on your hardware controller.
The top panel of your controller includes the following sections:
Quick Reference
3
6
4
5
Overview of the MASCHINE controller’s top panel and its main sections.
(1) Control section: Use this multi-purpose section to access to all parameters of the mode cur-
rently selected on your controller. On the left, dedicated buttons provide access to the Browser,
the Arranger, the Mixer and the Sample Editor. For more information on this section, see
↑2.3.1.1, Control Section.
Quick Reference
(2) Edit section: This section holds the 4-D encoder, a multifunctional element to be used in
various contexts. Used in combination with the 4-D encoder, the three Quick Edit buttons
nearby allow you to easily adjust the volume, tempo and swing of your Sounds, Groups and
Project. In Step mode they let you quickly adjust the velocity, position and tune of the selected
events(s). For more information on this section, see ↑2.3.1.2, Edit Section.
(3) Performance section: This section provides you with various tools shaped for live perform-
ance. The NOTE REPEAT button provides you access to the Note Repeat / Arp feature. The
LOCK button allows you to store and recall snapshots during your set. Underneath, the Smart
Strip and its four function buttons make up a highly versatile and intuitive tool for enriching
your performance. For more information on this section, see ↑2.3.1.3, Performance Section.
(4) Group section: The dedicated Group buttons allow you to instantly access each of your
Groups. For more information on this section, see ↑2.3.1.4, Group Section.
(5) Transport section: Start, stop and restart playback, activate record and tap the tempo, sim-
ply by pressing the dedicated buttons. Use SHIFT to access the secondary functions of your
controller. For more information on this section, see ↑2.3.1.5, Transport Section.
(6) Pad section: Access the various controller modes using the column of mode buttons on the
left-hand side of this section. Use the 16 pads to play your Sounds. Above the pads, the Pad
Input Mode buttons let you choose how the pads will behave: e.g., they can trigger all Sounds
in your Group, different notes of a single Sound, specific chords of a single Sound, or create
and edit events in the step sequencer. Besides playing the Sounds, the pads provide you ac-
cess to many editing and selection commands depending on the selected controller mode. For
more information on this section, see ↑2.3.1.6, Pad Section.
2.3.1.1 Control Section

The Control section provides access to all parameters of the selected mode. It also contains
dedicated buttons to access, e.g., the Browser, the Arranger, the Mixer and the Sample Editor.
Quick Reference
1 2 12
3 4
5 6
13
7
8 9
10 11
14
The Control section on your controller.
(1) CHANNEL button: Press CHANNEL to switch to Control mode (the default mode on your
controller) and directly display the Channel properties of the selected Sound/Group or the Mas-
ter. This provides instant access to all Channel properties’ parameters via the eight Buttons
and eight Knobs above and under the displays.
For a quick introduction to Channel properties, see Changing the Sound, Group, and Master Chan-
nel Properties.
Press SHIFT + CHANNEL (MIDI) to switch your controller to MIDI mode. This mode will enable
you to use MASCHINE as a MIDI controller (for more information on this, please refer to the
Controller Editor Manual).
(2) PLUG-IN button: Press PLUG-IN to switch to Control mode (the default mode on your con-
troller) and directly display the Plug-in(s) loaded in the selected Sound/Group or the Master.
This provides instant access to all Plug-ins’ parameters via the eight Buttons and eight Knobs
above and under the displays. See Playing with Effects for a practical example. Press SHIFT +
PLUG-IN (Instance) to enter Instance mode. In this mode you can select which instance of the
MASCHINE plug-in you want to control from your hardware controller if you have more than
one instance open in your host.
Quick Reference
(3) ARRANGER button: Press ARRANGER at any time to get an overview of your Project. In
Ideas view you can view your Scenes and Patterns, in Song view you can edit your Sections,
Scenes and Patterns to create the perfect arrangement. See the tutorials in Creating Scenes
and Creating an Arrangement.
(4) MIXER button: Press MIXER at any time to access an overview of your mix. Use the Mix
view to, e.g., quickly edit the level and panning of each Sound and Group. See The Mix View
for more details.
(5) BROWSER button: Press the BROWSER button to access the Browser. Press SHIFT +
BROWSER (+Plug-In) to access the Plug-in menu and load a Plug-in (Internal, Native Instru-
ments, and External, as well as Instrument and Effect) in the selected Plug-in slot. You will
find many examples of using the Browser throughout the tutorials; for example, see Loading a
Drum Kit from the Factory Library, Opening Your Project, Selecting Another Snare Sample, etc.
(6) SAMPLING button: Press the SAMPLING button to access the Sample Editor. See the tutori-
al in section Sampling.
(7) Page buttons: Almost any feature of MASCHINE can be accessed using the hardware con-
troller. For a clear and simple layout of the displays, the parameters are grouped into different
pages, which are selected using the Page buttons.
(8) FILE button: Press the FILE button to switch to File mode. In this mode you can quickly
save a copy of your Project, save it under another name, create a new Project, and load a
Project you have loaded recently. Press SHIFT + FILE (Save) to quickly save your modifications
to the current Project.
(9) SETTINGS button: Press the SETTINGS button to adjust the Metronome and Count-in set-
tings.
(10) AUTO button: In MASCHINE, modulation of almost any parameter on the Sound and
Group level is achieved with one-touch simplicity. Press and hold the AUTO button while turn-
ing any of the eight Knobs (or any combination) under the displays to record modulation for
the corresponding parameter(s). Have a look at section Modulating Effect Parameters for a
practical example. Press SHIFT + AUTO to pin/unpin the Auto mode. When Auto mode is pin-
ned, you can release the AUTO button (the button stays lit) and record modulation with both
hands; this is very handy to record modulation for two (or more) parameters simultaneously!
For more information on mode pinning, see ↑2.1.1, Controller Modes and Mode Pinning.
Quick Reference
(11) MACRO button: The MACRO button provides instant access to the properties of the chan-
nel’s Macro Controls”). This shortcut can greatly facilitate both reactivity and improvisation
when performing live. Press SHIFT + MACRO (Set) to define new Macros in a quick and easy
way, directly from your controller. For more information on the Macro Controls, refer to the sec-
tion: Using Macro Controls.
(12) Buttons 1–8: The eight Buttons above the displays dynamically adapt their function to the
selected mode, allowing direct access to the most important functions. The action they per-
form is shown below each Button in the displays.
(13) Displays: The displays are laid-out to provide you with all essential information; there’s no
need to glance at the computer screen.
(14) Knobs 1–8: Each Knob dynamically controls the parameter shown in the display above it.
2.3.1.2 Edit Section

The Edit section holds the 4-D encoder, a multifunctional element to be used in various con-
texts. Used in combination with the 4-D encoder, the three Quick Edit buttons nearby allow you
to easily adjust the volume, tempo and swing of the Sounds, the Groups and the Project.
2
1 3
4
The Edit section on the controller.
(1) 4-D encoder: The 4-Directional Push encoder combines the functionalities of a conventional
joystick, of a button, and of an endless rotary encoder. Hence, it can be moved in the four di-
rections: up, down, left, and right, as well as being pushed and rotated. These aspects make it
into a highly versatile control element that can be used for navigation, for adjusting values of
parameters, and for controlling instruments. Depending on the context, the four LEDs around
the encoder indicate you the directions in which you can move the joystick.
Quick Reference
(2)–(4) Quick Edit buttons: Enable either VOLUME, SWING, or TEMPO to quickly adjust the vol-
ume, swing, or tempo of your Project via the 4-D encoder (1). These buttons are mutually ex-
clusive: Only one can be active at any time. When VOLUME, SWING or TEMPO is active (lit),
hold a pad or a Group button and turn the 4-D encoder (1) to change the volume, swing or
tune for that individual Sound or Group, respectively. Press the lit button to deactivate it and
switch the encoder back to its default behavior. In Step mode the Quick Edit buttons allow you
to adjust the velocity, the position, and the pitch (key) of the selected events. See Adjusting
Volume, Swing and Tempo for a practical example of how to use these features.
2.3.1.3 Performance Section

The Performance section provides you with various tools shaped for live performance.
1
2
4 5 6 7
3
The Performance section on the controller.
(1) NOTE REPEAT button: Note Repeat is a convenient way to play and record beats and melo-
dies. When your pads are in Group mode, the Note Repeat engine plays the selected Sound
automatically at a given rate. While holding the NOTE REPEAT button, hold the pad you want
to play: notes will be repeatedly triggered at the rate selected in the right display. With But-
tons 4–6, you can select different rates while playing. You can select new rate values for each
of these buttons by turning Knobs 5–8. When your pads are in Keyboard or Chord mode, NOTE
REPEAT provides you instead access to the flexible and versatile Arp engine, an arpeggiator
that effectively lets you play your Sounds in note sequences. The arpeggios are created accord-
Quick Reference
ing to both the pads you hold and the scale and chords you have configured. As a shortcut,
when your pads are in Group mode press SHIFT + NOTE REPEAT (Arp) to directly switch your
pads in Keyboard mode and activate the Arp engine. The Note Repeat / Arp mode can be pin-
ned: Press NOTE REPEAT + Button 1 to pin/unpin the mode. For a practical example of use,
see Using Note Repeat.
(2) LOCK button: Press LOCK at any time to create a snapshot of all modulable parameters in
your Project. Subsequently, change any of these parameters during your performance or studio
session, then press the dim lit LOCK button again to recall the snapshot with the original pa-
rameter values. Press SHIFT + LOCK (Ext Lock) to access Extended Lock mode and store/recall
up to 64 snapshots using your pads, update and organize them into banks, and configure
morphing transitions between them. Lock is a powerful tool for extensive modulations, but also
very useful to compare mixes, or to switch up snapshots during a live performance.
(3) Smart Strip: The Smart Strip puts control of several parameters literally at your fingertips:
Depending on the Strip Mode button (4–7) selected above the Smart Strip, use it to apply
pitch bend or modulation to the Sound(s) played on the pads, apply and tweak Perform FX in
real time, or play Sounds by strumming on the strip, even with two fingers. Above the Smart
Strip, a LED bar indicates the current value or note set on the strip.
(4)–(7) Strip Mode buttons: The PITCH (4), MOD (5), PERFORM (6), and NOTES (7) buttons let you
select the function of the Smart Strip (3) underneath. Press the Strip Mode buttons to enable
or disable the corresponding function:
▪ Enable PITCH (4) or MOD (5) to send MIDI Pitchbend or Modulation data to the selected
Sound using the Smart Strip. While doing this, press REC in the Transport section to re-
cord your actions as MIDI automation into your Pattern.
▪ Enable PERFORM (6) and use the Smart Strip to control the Perform FX (if any) for the
selected Group. Press SHIFT + PERFORM (FX Select) to quickly select and load a Perform
FX for that Group while enabling its control from the Smart Strip.
▪ Enable NOTES (7) and use the Smart Strip to play whatever is currently loaded on the
pads: Sounds, notes or chords, depending on the current Pad Input mode. If you hold cer-
tain pads, only these pads are triggered by the strip, otherwise all pads can be triggered
along the strip. E.g., with pads in Keyboard mode, you can touch the strip for single notes,
slide your finger for progressive note strums, use two fingers for instant jumps between
notes, but that’s not all: You can use the Smart Strip in combination with the Note Repeat,
Arp, and Chord engines for endless creative possibilities.
Quick Reference
If no Strip Mode button is active, the Smart Strip is disabled.
2.3.1.4 Group Section

The eight dedicated Group buttons, labeled A to H, provide instant access to the Groups.
The Group buttons on your controller.
Press any Group button to select the Group you want to work in. Once a Group is selected its
button lights up in the assigned color and its Sounds are available on the pads: whether one
Sound on each pad (pads in Group mode) or different notes for one particular Sound (pads in
Keyboard mode). The other colored Group buttons are dim lit to indicate they can be selected.
Press the dim white button to create a new Group in that slot. Buttons remain uncolored and
unlit for the other empty Group slots.
If you want to use more than eight Groups in your Project, hold SHIFT and press the Group
buttons to select and access other banks of Groups.
These buttons are also used to solo and mute Groups on the fly when SOLO or MUTE buttons
are held; this is great for jamming out your Project and performing live. See Using Solo and
Mute for more on the Solo and Mute features.
If the VOLUME, TEMPO or SWING button is active in the Edit section above (see ↑2.3.1.2,
Edit Section), hold a Group button and turn the 4-D encoder to change the volume, tune or
swing for that individual Group. For more details on this, see Adjusting Volume, Swing and
Tempo.
2.3.1.5 Transport Section

The Transport section holds various transport tools as well as the SHIFT button used in various
contexts.
Quick Reference
4 5 6 7
1 2 3 8
The Transport section on your controller.
(1) PLAY button: Press PLAY to activate playback. Press PLAY a second time to stop playback.
(2) REC button: When playback is on, press REC to begin recording. Or when playback is off,
press SHIFT + REC to begin recording with the Count-in. Press REC a second time to stop re-
cording. Hold the REC button to access Pattern Preset mode, this allows you to select the de-
sired Pattern Length before recording new Patterns.
(3) STOP button: Press STOP to stop playback.
(4) RESTART button: Press the RESTART button at any time to restart from the beginning of the
current loop range. Used together with SHIFT (8), the RESTART button lets you easily adjust
the Loop in many ways: Press SHIFT + RESTART to enable/disable looping. Hold SHIFT + RE-
START and turn the 4-D encoder to move the entire Loop along the Timeline, or “push & turn”
the encoder to adjust only the end point of the Loop. While you hold SHIFT + RESTART, the
displays provide another useful set of looping controls.
(5) ERASE button: During playback, hold ERASE and hold any number of pads or Group but-
tons to erase the events for the corresponding Sounds or Groups on the fly as the playback
goes on. Use the shortcut ERASE + EVENTS + pad to quickly erase all events triggered by that
pad in your Pattern. If you automated a parameter, hold ERASE and turn the corresponding
Knob under the displays to erase the automation of this parameter. Press SHIFT + ERASE +
any pad or Group button to completely remove the Sound or Group in that slot.
(6) TAP button: Repeatedly tap the TAP button to set the desired tempo. Press SHIFT + TAP to
quickly enable/disable the metronome.
(7) FOLLOW button: If you activate FOLLOW, time-related displays (like the Pattern Editor) will
show the next part as the playhead goes beyond the current part, so that you always see where
the playhead is. Press SHIFT + FOLLOW to open Grid mode and adjust the grids to define how
Quick Reference
various MASCHINE objects can be moved or resized: Perform grid (for transitions between Sec-
tions), Arrange grid (for Pattern length and Section length), Step grid (for events), and Nudge
grid (for events as well).
(8) SHIFT button: While the most important features are accessible through dedicated buttons,
many shortcuts are available by holding the SHIFT button and pressing pads 1–16 or several
other buttons. You can also use the SHIFT button to change parameters in finer increments
when entering values with the Knobs, or use it to bypass, remove and move Plug-ins from with-
in the Plug-in List.
2.3.1.6 Pad Section

The Pad section includes numerous features. Use the 16 pads to play your Sounds. Above the
pads, the Pad Input Mode buttons let you choose how the pads will react to your hits: e.g., you
can trigger all Sounds in your Group, play different notes of a single Sound, specific chords of
that Sound, or create and edit events in the step sequencer.
Besides playing Sounds, the pads provide access to many editing and selection commands de-
pending on the controller mode selected from the column of Mode buttons left of the pads.
Additionally, when you hold SHIFT the pads provide you with useful shortcuts and commands
for your everyday work with MASCHINE.
Quick Reference
14 10 11 12 13
5
9
4
The Pad section on your controller: the Mode buttons (1) to (8), the pads (9), and the Pad Input Mode buttons (10) to (14).
Mode Buttons
The Mode buttons (1) to (8) are located in the column left of the pads. They switch the pads
and your controller to a series of modes dedicated to specific workflows:
All the Mode buttons left of the pads can be pinned: Simply press the desired button + Button 1
(above the left display) to pin/unpin the corresponding mode. See ↑2.1.1, Controller Modes and
Mode Pinning for more information.
(1) MUTE button: Enters Mute mode. In this mode, you can instantly mute Sounds and/or
Groups by pressing the corresponding pads and/or Group buttons. This is good for getting on
top of your production when you have many sounds playing and especially useful for perform-
ing live. Muted Sounds/Groups are represented by half-lit pads, while audible Sounds/Groups
are represented by fully lit pads.
Quick Reference
(2) SOLO button: Enters Solo mode. In this mode, you can instantly solo any Sound or Group
(equals muting all other Sounds/Groups) by pressing its pad or Group button. This is useful to
tweak the Sound or for performing live. The pad of the soloed Sound or Group is fully lit, while
all other pads (representing the muted Sounds/Groups) are dimmed.
(3) SELECT button: Enters Select mode. This mode allows you to select a Sound without having
to play it, or select specific events of a particular Sound, which is useful for limiting quantiza-
tion, nudging notes and other operations specifically to the selected events. Press SHIFT +
SELECT + pad to quickly select all events triggered by that pad in your Pattern, or notes at
that pitch when in Keyboard mode. Press ERASE + SELECT + pad to quickly erase all events
triggered by that pad in your Pattern or notes at that pitch when in Keyboard mode.
(4) DUPLICATE button: Enters Duplicate mode. Use the Duplicate mode to swiftly create anoth-
er instance of any Sound, Pattern, Group or Scene. This can be useful for creating variations or
trying out something new while preserving the current state of your work.
Press SHIFT +DUPLICATE to quickly double the current Pattern.
(5) VARIATION button: Enters Variation mode. This lets you introduce “happy accidents” in your
Patterns. The Variation mode provides you with two features: Humanize adds natural rhythmic
fluctuations to programmed sequences, while Random provides randomly generated variations
of your beats and melodies based on adjustable settings. Press SHIFT + VARIATION to enter
Navigate mode. When working on large Projects, it is sometimes necessary to look at the com-
puter screen. With Navigate mode there is no need to use the mouse and search for scroll bars
or magnifying glasses. Just use the pads and the displays to zoom in and out or scroll through
Patterns and Scenes. See ↑2.1.2, Controlling the Software Views from Your Controller for more
information. Furthermore, in Navigate mode the Buttons above the displays provide quick ac-
cess Channel properties and Plug-in parameters.
(6) EVENTS button: Enters Events mode. This mode allows you to select particular events in
your Pattern and modify their position, pitch (key), velocity and length. You can also press
EVENTS + pad to quickly select all events triggered by that pad in your Pattern.
(7) PATTERN button: Enters Pattern mode. Pattern mode allows you to manage all Patterns in
the selected Group: create new empty Patterns or duplicates of existing ones, switch between
different Patterns, etc. Dimmed pads represent existing Patterns, the fully lit pad represents
the selected Pattern.
(8) SCENE button: Enters Scene mode (in Ideas view) or Section mode (in Song view). Use
Scene mode to access your Scenes and Section mode to arrange your song:
Quick Reference
▪ Use Scene mode to create, select and manage Scenes to prepare them for assignment to
Sections in the Arranger. During playback, you can switch Scenes for quick on-the-fly ar-
rangement by pressing the pads; half-lit pads show existing Scenes, while fully lit pads
show the selected Scene. When you are satisfied with a Scene you can append it to the
Arranger.
▪ Use Section mode to create, select, and manage Sections in order to create an arrange-
ment. Here you can create Sections, assign a Scene to Section, position a Section on the
Timeline, and set the length of a Section.
Press SHIFT + SCENE to quickly toggle between Ideas view and Song view.
Pads and Pad Input Mode Buttons

The Pad Input Mode buttons (10) to (14) allow you to choose from various behaviors for the
pads (9) when it comes to trigger your Sounds. The four buttons directly above the pads (PAD
MODE (10), KEYBOARD (11), CHORDS (12) and STEP (13)) control the four main pad input
modes, while the FIXED VEL button (14) controls additional options for the modes.
(9) Pad 1–16: The sixteen velocity-sensitive pads can be used to play and select your Sounds.
Their behavior can be configured by the Pad Input Mode buttons (10) to (14) described below.
The pads also have many functions depending on the controller mode that is currently select-
ed.
(10) PAD MODE button: Press PAD MODE to switch the pads to Group mode (the default mode).
In Group mode each pad represents one Sound of the Group. Group mode is typically used for
drum kits. You can adjust various parameters of the mode via the displays and the surrounding
Buttons and Knobs. The right display shows you the Sound triggered by each pad. You can use
Buttons 5–8 to adjust the Base Key, which sets the key (pitch) triggered for each Sound in the
Group, and Knobs 1–4 under the left display to set the Choke and Link group settings. Please
refer to the MASCHINE Manual for more information on these features. By pressing PAD
MODE again, you can hide its parameters from the displays and return to your previous work-
flow while keeping Group mode enabled on your pads; as a reminder, the PAD MODE button
will stay lit as long as your pads are in Group mode. Press SHIFT + PAD MODE to switch your
pads to Group mode without switching the displays to the mode parameters.
(11) KEYBOARD button: Press KEYBOARD to switch the pads to Keyboard mode. In Keyboard
mode the pads represent 16 pitches of the chromatic scale for the selected Sound, ascending
from the selected Root Note; this way you can play the selected Sound like a melodic instru-
Quick Reference
ment. The right display shows you the pitch triggered by each pad. You can use Buttons 5–8 to
adjust the Root Note (triggered by pad 1), and Knobs 1–4 to configure the Scale engine and
limit the available pitches to a particular scale. By pressing KEYBOARD again, you can hide its
parameters from the displays and return to your previous workflow while keeping Keyboard
mode enabled on your pads; as a reminder, the KEYBOARD button will stay lit as long as your
pads are in Keyboard mode. Press SHIFT + KEYBOARD to switch your pads to Keyboard mode
without switching the displays to the mode parameters.
(12) CHORDS button: Press CHORDS to switch the pads to Chords mode. The Chords mode is
similar to the Keyboard mode (see the KEYBOARD button (11) above) with the difference that
each pad triggers a whole chord instead of a single note. You can use Knob 3 and 4 to config-
ure the chord you want to play. By pressing CHORDS again, you can hide its parameters from
the displays and return to your previous workflow while keeping Chords mode enabled on your
pads; as a reminder, the CHORDS button will stay lit as long as your pads are in Chords mode.
Press SHIFT + CHORDS to switch your pads to Chords mode without switching the displays to
the mode parameters.
(13) STEP button: Press STEP to switch the pads to Step mode. Step mode turns your MA-
SCHINE controller into a full-featured step sequencer. In this mode, each pad represents one
step of the selected Step Grid resolution. During playback, a running light through the pads
represents the current position of the step sequencer. Pressing the pads creates notes on the
corresponding steps (causing them to light up) or it removes them. For more information on
Step mode, refer to Creating Beats with the Step Sequencer. By pressing STEP again, you can
hide its parameters from the displays and return to your previous workflow while keeping Step
mode enabled on your pads; as a reminder, the STEP button will stay lit as long as your pads
are in Step mode. Press SHIFT + STEP to switch your pads to Step mode without switching
the displays to the mode parameters.
(14) FIXED VEL button: Press FIXED VEL to enable/disable the Fixed Velocity option. By default,
the pads are sensitive to velocity: The harder you hit them, the louder the sound will be. With
Fixed Velocity enabled, your pads play at the same volume no matter how hard you hit them.
For example, this can be very handy when you are triggering slices of a loop from your pads
and want to have all slices at the same volume. Fixed Velocity is available in all four pad input
modes: Group, Keyboard, Chords and Step (see above for more info on these). Press SHIFT +
FIXED VEL to enable/disable the 16 Velocities option. In this mode your pads play the same
note (pitch) of the focused Sound but with 16 different velocity values. This can be useful to
Quick Reference
play or program complex drum fills. The right display indicates the velocity values for each
pad. The pitch of the played note is defined by the Base Key. The 16 Velocities option is only
available in Group mode, i.e. when PAD MODE (10) is enabled.
2.3.1.7 Rear Panel

The rear panel of the MASCHINE controller holds the various hardware switches, knobs and
sockets of the integrated audio interface, power supply, and USB connection.
1 2 3 4 5 6 7 8 9 10 11 12
The rear panel of the MASCHINE controller.
(1) PHONES VOLUME knob: Adjusts the level of the PHONES output (2).
(2) PHONES socket: Stereo output socket for plugging in headphones with a 1/4" TRS jack. In
your music software this stereo output appears as a pair of mono outputs labeled 3: Head-
phone Left and 4: Headphone Right. Turn the PHONES VOLUME knob (1) to adjust their out-
put level.
(3) LINE OUT VOLUME knob: Adjusts the level of the LINE OUT 1 and 2 outputs (4).
(4) LINE OUT L and R sockets: These 1/4" TRS sockets are the main outputs of the audio inter-
face. In your music software they will appear as 1: Main Left and 2: Main Right. Turn the LINE
OUT VOLUME knob (3) to adjust their output level.
(5) MIC IN GAIN knob: Adjusts the level of the MIC IN input (6). Use this knob to raise the mi-
crophone signal until it reaches a level high enough for your music application without clip-
ping. If the microphone signal sounds distorted, slowly turn this knob down until the artifacts
have disappeared.
Quick Reference
(6) MIC IN socket: Balanced input socket for plugging in dynamic microphones with a 1/4" TRS
jack. When a microphone is plugged into the socket, the LINE IN 1 and 2 sockets (7) are disa-
bled.
(7) LINE IN 1 and 2 sockets: Pair of balanced 1/4" TRS input sockets accepting any line level
signal (e.g., a synthesizer or mixer output). In your music software they will appear as 1: Input
Left and 2: Input Right. If a microphone is plugged in the MIC IN socket (6), the LINE IN 1
and 2 sockets are disabled.
(8) MIDI IN and OUT sockets: The MIDI input (IN) and output (OUT) sockets let you integrate
MASCHINE into your MIDI setup. For example, you can connect a MIDI keyboard to the MIDI
IN socket and play melodic Sounds via the keyboard. Connect your favorite hardware synth to
the MIDI OUT socket and trigger its sounds from within your MASCHINE Project. You can syn-
chronize MASCHINE with other tempo-related instruments by sending or receiving a MIDI
Clock signal. Please refer to the Manual to discover all details on the various MIDI possibilities
and how to set them up.
(9) PEDAL socket: Allows you to use a footswitch to control the transport in MASCHINE. Note
that this is a stereo socket, allowing you to plug in a double footswitch and control the PLAY
and the REC buttons in MASCHINE. The PEDAL socket can also be configured to accept con-
tinuous pedals (“expression pedals”). For more details, please refer to the MASCHINE Manual
available from the Help menu.
(10) USB socket: Connects the MASCHINE controller to your computer via USB 2.0/3.0.
(11) Power Supply socket: Connect the included power supply to the socket. Note that the pow-
er supply is not required to operate MASCHINE. Connecting the power supply only adds an ex-
tra brightness to all illuminated elements on your controller, which can be useful in bright en-
vironments.
(12) Power switch: Press the power switch to switch on your MASCHINE controller. Note that
you have to switch on your controller in order to use it, even if you don’t use any power supply.
Quick Reference
MASCHINE Software Overview
2.4 MASCHINE Software Overview
2
4
The MASCHINE software.
(1) Header: The Header contains the main controls for the MASCHINE software including the
Display area, the Transport controls, and the Master Volume slider. You can also use this area
to toggle the Browser, toggle the Mixer view, connect to your hardware controller and monitor
the CPU usage of your computer.
(2) Browser: The Browser is your tool for managing, finding, tagging and categorizing Projects,
Groups, Sounds, Instruments, Effects and Samples. Using the search facility you can quickly
find things and Prehear (audition) Samples.
Quick Reference
(3) Arranger: This area has two views: Ideas view and Song view. Ideas view is for creating and
experimenting with musical ideas free from the timeline. Song view is for organizing your musi-
cal ideas into a song on the Timeline.
(4) Control area: The Control area allows you to control parameters and settings for each of the
Plug-in slots at each Project level (Sound, Group and Master). This area can hold settings for
Groups, Sounds, Plug-ins (internal or VST/AU plug-ins), MIDI, routing.
(5) Pattern Editor: The Pattern Editor features both step programming and real-time recording
and is the basis for each Pattern. Patterns for each Group can be created here and then as-
signed to Scenes in the Arranger. The Pattern Editor also lets you edit modulation for the
Sound, Group, and Plug-in (Internal or External) parameters.
2.4.1 Header
1 3 4 5 6 8 10
2 7 9
The Header.
(1) MASCHINE menu: Click the MASCHINE menu to access the software menus. This menu is
particularly useful in Full screen mode and when MASCHINE is used as a plug-in in a host ap-
plication.
(2) Browser button: Use the Browser button to toggle the Browser. The Browser is your tool for
managing, finding, tagging and categorizing Projects, Groups, Sounds, Instruments, Effects
and Samples. From the Browser you can directly search your computer or an external drive to
add new files. You may also prehear (audition) Samples directly from the Browser and apply
new tags.
(3) Mix view button: Click the Mix view button to access the Mix view. The Mix view provides
you with quick access to the level and routing settings of all your Sounds, Groups, and the
Master. In addition, it provides you with an intuitive interface for adjusting the parameters of
all your Plug-ins.
Quick Reference
(4) Transport controls: The Transport controls contain buttons such as Play, Restart, Record and
Loop.
(5) Display area: The Display area provides control regarding Ableton Link, time signature, tem-
po, global swing, Follow and Performance Grid (Including Retrigger)
(6) Controller icon: This area displays an icon each MASCHINE controllers connected to your
computer.
(7) Master Volume slider: Shows and adjusts the level of the MASCHINE audio output.
(8) CPU meter: The CPU meter represents the current load on your computer’s processor and is
constantly measured; it should not go above 70% to avoid clicks and interruptions. You can
save CPU power by sampling the audio output of MASCHINE if necessary using export (for
more information, please refer to the Manual).
(9) Audio Engine button: Click the Audio Engine button to disable the entire sound processing of
MASCHINE.
(10) NI logo: The NI logo and MASCHINE logo open the About screen which displays the ver-
sion number and edition of your MASCHINE software.
Quick Reference
2.4.2 Browser
1 2
3 4
5
9 10 11
The Browser.
(1) LIBRARY tab: Use the LIBRARY tab to access your computer's hard drives via MASCHINE's
selectors and filters.
(2) FILES tab: Use the FILES tab to access your computer’s hard drives.
Quick Reference
(3) File Type selector: This contains six icons representing the different file types of MA-
SCHINE. From left to right the file types are: Projects, Groups, Sounds, Instruments, Effects, and
Samples. Clicking one of them causes only the files of the selected type to be displayed.
(4) Content selector: The Content selector allows you to select between Factory content and
User content.
(5) Product selector: The Product selector allows you to browse and select any content of the
same File Type as is selected in the File Type selector above.
(6) Tag Filter: The Tag Filter allows you to search based on tags. You can quickly find files
based on the TYPES and MODES categories by clicking the tags.
(7) Search field: Use the Search field to quickly find files based on their name or tagged attrib-
ute. Select the type of file you are looking for from the File Type selector and enter the name
or category of a file into the Search field to perform a search. Results are displayed in the Re-
sults list below.
(8) Results list: The Results list displays all files that match your query.
(9) Audition controls: The Autoload button allows you to load and listen to the item selected in
the Results list in context with the rest of your Project while it is playing.
If you are browsing Samples, the Prehear button (speaker icon) allows you to quickly hear each
Sample you select in the Results list, at the volume set by the slider.
Audition control volume slider.
When browsing Groups, the +PATTERNS and +ROUTING buttons appear in the Control bar of
the Browser.
+PATTERNS and +ROUTING in the Control bar of the Browser.
When the +ROUTING button is on, the audio and MIDI routings stored in the Group will also
be loaded (potentially overwriting previous routings in the selected Group). When the +ROUT-
ING button is off, any audio and MIDI routings saved in the Group will not be loaded, thus pre-
serving any existing routings in the active Group.
Quick Reference
The +PATTERNS button allows you select whether a Group is loaded with or without a saved
Pattern. This button conveniently allows you to load new kits without a Pattern so you can try
them with your existing pattern, or load kits with Patterns you have previously created. When
the +PATTERNS button is selected the Sounds and Patterns of the selected Group will be
loaded. When the +PATTERNS is deselected, only the Sounds of the selected Group will be
loaded.
(10) Information: Click the Information icon to view details of the selected file.
(11) Tag Editor: The Tag Editor allows you to edit Tags applied to files and add Tags to new
files from the Bank, Types, and Modes and view Properties. Only Types and Modes Properties
can be edited in the User content. The NI (Native Instruments) content is read only. You can
show/hide it by clicking the EDIT button at the bottom right.
2.4.3 Arranger
The Arranger is has two different views: Ideas view and Song view. Each view has a specific
purpose in the workflow of creating a song, but essentially they represent the same content.
The Ideas view allows you to experiment with your musical ideas without being tied to a time-
line or any kind of arrangement. Here you can create Patterns for each Group and combine
them into a Scene. The Song view allows you to structure your song by allowing you to assign
the Scenes you created in the Ideas view to Sections, and move them around to quickly create
a larger musical structure.
Switching between Ideas View and Song view
The Arranger View button.
► Click the Arranger View button to switch between the Ideas view and the Song view.
→ When the button is unlit Ideas view is active, when the button is lit Song view is active.
Quick Reference
The Ideas View
3
The Ideas view for creating and experimenting with musical ideas free from the Timeline.
(1) Scenes: This area displays all the current Scenes in your project. After creating a Scene by
clicking the + symbol, you can build the Scene by selecting a Pattern from each Group. By
clicking each Scene name (Scene slot) you can switch between Scenes to see how your musi-
cal ideas work together.
Using your mouse you can right-click the Scene slot and select to Append to Arrangement from
the menu and then arrange your song in the Song view. You can also use the right-click menu
to Clear, Duplicate, or Delete Scenes, as well as organize your Scenes by selecting the Rename
or Color options
(2) Pattern area: All Patterns in your Song are represented here. You can double-click a blank
slot to create and new Pattern or click an existing Pattern to assign it to the selected Scene.
Once assigned, a Pattern will become highlighted, click it again to remove it from the selected
Scene. Using your mouse you can right-click the name of a Pattern and select to Clear, Dupli-
cate, or Delete a Pattern. You can also organize your Patterns by selecting the Rename or Color
options.
(3) Groups: The Group slots can hold one Group each. Select the desired slot to load a Group
into it and display the Group’s content (Sounds, Patterns…) in the Pattern Editor (see ↑2.4.5,
Pattern Editor) and the Group’s Channel properties and Plug-in parameters in the Control area
(see ↑2.4.4, Control Area). To mute a Group click the Group letter, for example A1, and right-
click on the letter to solo the Group. Using your mouse you can also right-click the name of a
Group to access the many options available to manage them.
Quick Reference
The Song view
1 2
3
4
The Song view for organizing your musical ideas into a song on the Timeline.
(see ↑2.4.4, Control Area).
(2) Arranger timeline: This area displays the current position within the track and allows you to
set the loop range.
(3) Section slots: This area displays Section slots. A Section is a container for Scene placed on
the Timeline. A Section can be moved freely by clicking the name of the Section and dragging
and dropping it into place. You can change the length of a Section by dragging the Section end
marker to the left to shorten it, or to the right to lengthen it. Using your mouse you can right-
click a Section and use Select in the menu to assign a Scene to a Section. It is also possible to
use the menu to Insert, Duplicate, Delete, Clear or Remove Sections as well as organize them
by selecting the Rename or Color options.
(4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene as-
signed to the Section along with the Scene’s Patterns stacked vertically for each Group in the
Project. The Patterns seen here are the same as those seen when viewing the same Scene in
the Ideas view.
Quick Reference
2.4.4 Control Area
2 3 4 5 6 7
8
The Control area.
(1) Plug-in icon: Click the Plug-in icon to access Plug-ins and their parameters.
(2) Channel icon: Click the Channel icon to access Channel properties where you can display
and adjust various properties for the selected Sound/Group or Master channel in the Parameter
area.
(3) MASTER tab: Click the MASTER tab to control sound at the main outputs of MASCHINE (in-
cluding all Groups and Sounds).
(4) GROUP tab: Click the GROUP tab to gain access to Plug-ins and Channel properties of the
Group loaded in the selected Group slot (A–H).
(5) SOUND tab: Click the SOUND tab to gain access to Plug-ins and Channel properties of the
Sound in the selected Sound slot (1-16).
(6) Parameter area: Displays the parameters for the selected Plug-in or Channel properties. De-
pending on the number of parameters to display, these can be split into several pages. In this
case, click the name of the parameter page to display it.
(7) Quick Browse Icon: Use the Quick Browse icon to recall the search query you performed to
find the currently loaded file/preset.
(8) Plug-in List: There are Plug-in slots on each channel level (Sound, Group and Master). Each
of them can hold one effect Plug-in. The first Plug-in slot of the Sound level can also hold a
plug-in instrument. Select the desired Plug-in to display its parameters in the Parameter area.
Quick Reference
2.4.5 Pattern Editor
3 4 5 6 7 8 9
2 10
1
11
12
14 13
The Pattern Editor.
(1) Sample Editor button: Click this button to open/close the Sample Editor.
(2) Keyboard view button: Click this button to display the Keyboard view.
(3) Group view button: Click this button to display the Group view.
(4) Audition button: Click this button to audition a Sound when it is selected from the Sound
slots (6).
(5) Sound properties icon: Click this icon to quickly access the Key, Choke, and Link settings
for the selected Sound.
Quick Reference
(6) Sound slots: Sounds slots 1–16 of the selected Group are listed here. Click a Sound slot to
bring it into focus and display its Plug-ins and Channel properties in the Control area (see
↑2.4.4, Control Area). In Keyboard view (2), click a Sound slot to display its events in the Step
Grid (11).
(7) Pattern slots: Each Group has an unlimited number of Patterns available. Each Pattern slot
can hold one Pattern. A Pattern contains the events that make up a groove or a musical phrase
for the selected Group. Click the drop-down arrow to open the Pattern Manager and select a
Pattern slot to display and edit its Pattern. Upon slot selection this Pattern is also referenced
for that Group in the selected Scene in the Arranger (see ↑2.4.3, Arranger). Select various Pat-
terns from each Group to form an arrangement.
(8) Pattern Length controls: The Pattern Length controls allow you to choose the unit by which
the length of the Pattern can be adjusted and to adjust the length of the displayed Pattern ac-
cording to that unit.
(9) Dragger icons: The Dragger icons allow you to conveniently drag and drop audio or MIDI
from your Patterns to your desktop or host software.
(10) Pattern timeline: The timeline at the top of the Step Grid (11) displays musical time units,
including bars and beats. Click the timeline to resize the currently selected Pattern.
(11) Step Grid: Displays the content of the selected Pattern slot (7). Here you can see your re-
corded events as rectangular blocks. In Group view (3) these represent the Sounds of your
Group. In Keyboard view (2) they represent musical notes of the selected Sound. The events
can be edited using your mouse; they can be dragged to a new position, elongated, shortened
or deleted.
(12) Control Lane: The Control Lane provides a visual overview and editing tools for the automa-
tion of each parameter and modulation of each MIDI control change.
(13) Edit controls: Use the Step menu to change the step size in which events can be moved/
resized and click the Pencil icon to toggle the Pencil mode on/off.
(14) Control Lane button: The Control Lane button allows you to show/hide the Control Lane
(12).
For a detailed explanation of each section please refer to the MASCHINE Manual.
Basic Concepts
Important Names and Concepts
3 Basic Concepts
This chapter will reintroduce you to MASCHINE’s main elements and terminology and explain
how they relate to one another. You will also learn how to set up your audio interface and how
to connect MIDI devices.
Before reading this chapter it is strongly recommended that you read the MASCHINE Getting Start-
ed first.
3.1 Important Names and Concepts

We will start with a list (in alphabetical order) of the most important concepts and names.
Arranger
The Arranger is the big area located in the upper part of the MASCHINE window, right under
the Header. The Arranger has two views: Ideas view and Song view. Ideas view allows you to
develop your ideas independent from the timeline. The song view will enable you to combine
Sections (references to Scenes) and arrange them into a song.
Browser
The Browser is the front end for accessing all the elements of your MASCHINE Projects:
Projects, Groups, Sounds, instruments and effect presets, and Samples. Each of these can be
stored and tagged in a way that allows you easy access to all of them. MASCHINE’s factory
library has already been completely tagged, including the factory libraries of any Native Instru-
ments products installed on your computer. You can also import your files into the Library and
tag them as well. To learn more about the Browser, please read chapter ↑4, Browser.
Effect
MASCHINE comes with many different effects in the form of Internal Plug-ins. You may also
use Native Instruments or third-party VST/AU effect plug-ins. Each Sound, each Group, and
the Master can hold any number of effects that can be applied as insert effects. The flexible
Basic Concepts
routing system also allows you to create send effects, multi-effects, and side-chains. For more
details on using effects in MASCHINE, refer to chapter ↑14, Using Effects. You will find an
exhaustive description of all internal effects included in MASCHINE in chapter ↑15, Effect
Reference.
Event
Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor,
events are visually represented by rectangles in the Event area. Depending on the current view
in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the selected
Sound slot only (Keyboard view). Events are described in more detail in chapter ↑11, Working
with Patterns.
Group
A Group contains 16 Sound slots. In addition to the Effect Plug-ins applied to each individual
Sound, a Group can have its own insert effect. These affect all the Sounds in the Group. A
Group can also contain any number of Patterns (grouped into banks of 16 Patterns each). Re-
fer to chapter ↑5, Managing Sounds, Groups, and Your Project for more information on Groups.
Ideas View
line or arrangement. You can create Patterns for each Group and combine them into a Scene.
Scenes can then be added to Sections in the Song view to create a larger musical structure.
Master
This is where all audio signals from each of the Groups and Sounds come together and get
mixed. The Master channel can also host any number of insert effects of its own, these effects
are applied to all Groups and the Sounds within them. More information on the Master can be
found in chapter ↑5, Managing Sounds, Groups, and Your Project.
Pattern
A Pattern is a sequence that plays Sounds from a Group. It belongs to that Group and will be
saved together with the Group. In every Scene you can choose for each Group which of its Pat-
terns has to be played. More information on Patterns can be found in chapter ↑11, Working
with Patterns.
Basic Concepts
Plug-in
Each Sound, each Group, and the Master can hold any number of Plug-ins. Plug-ins can be
instruments or effects, and they can be internal (included with MASCHINE), from other Native
Instruments products (instruments or effects), or external (third-party VST/AU plug-ins). Instru-
ment and Effect Plug-ins can be loaded in the first Plug-in slot of Sounds. The other Plug-in
slots of Sounds, as well as the Plug-in slots of Groups and of the Master can hold Effect Plug-
ins only. At each level (Sound, Group, and Master), Plug-ins process the audio in series, ac-
cording to the order in which they are stacked up. Refer to chapter ↑7, Working with Plug-ins.
Project
A Project contains all data needed for a song: Groups with their Patterns, all Scenes and all
settings, modulation, effects, routings, Sounds, and Samples. It’s like a snapshot of the entire
state of MASCHINE. Please read the MASCHINE Getting Started for a complete overview of
the MASCHINE Project structure.
Scene
A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in
order to create musical ideas. Scenes are created in the Ideas view and then added to Sections
in the Song view to create an arrangement. Refer to chapter ↑16.3, Using Song View for more
information on Scenes.
Section
A Section is a reference to a specific Scene on the Timeline of the Song view. They are used to
arrange the Scenes into a larger musical structure. The benefit of using Sections is that any
changes made to a Scene are replicated in each Section where the Scene is referenced there-
fore making the process of changing parts of a song quick and easy.
Song view
Song view will enable you to combine Sections (references to Scenes) and arrange them into a
song in the Arranger.
Basic Concepts
Adjusting the MASCHINE User Interface
Sound
Sounds are the building blocks of all sound content in MASCHINE. A Sound is made up of any
number of Plug-ins. Each Sound of the selected Group is mapped to one of the 16 pads on the
hardware controller, so you can play the Sounds by pressing the pads. Refer to chapter ↑5,
Managing Sounds, Groups, and Your Project for more information on Sounds.
Please refer to chapter ↑20, Glossary at the end of this Manual for more definitions.
3.2 Adjusting the MASCHINE User Interface

The MASCHINE software user interface is very flexible. You can choose what to display and
what not, allowing you to focus on your workflow. This section shows you how to adjust the MA-
SCHINE GUI to suit your needs.
3.2.1 Adjusting the Size of the Interface

From the View menu in the Application Menu Bar and from the View submenu in the MA-
SCHINE menu you can select one of four different sizes to display MASCHINE’s software GUI:
The View menu in the Application Menu Bar (Windows depicted).
Basic Concepts
The View submenu in the MASCHINE menu.
Full screen view is also available from your computer keyboard via [Ctrl]+[F] (macOS: [Cmd]+[F]).
3.2.2 Switching between Ideas View and Song View

At any time you can quickly switch between the Ideas view and the Song view, using the Ar-
ranger View button.
The Arranger View button in the top left corner.
► Press the Arranger view button to toggle between Song view and Ideas view.
→ The Arrangement area switches from Ideas view (default view) to Song view.
For more information about Ideas view and Song view see ↑16, Working with the Arranger.
Basic Concepts
Switching between Ideas View and Song View using the Controller
On your controller:
1. Press SHIFT + ARRANGER.
2. Press SHIFT + Button 1 to access Ideas view
3. Press SHIFT + Button 2 to access Song view.
→ The software switches between Ideas view and Song view.
3.2.3 Showing/Hiding the Browser

► Click the Browser button (with the magnifier symbol) in the Header to show and hide the
Browser. You can also select Browser from the View menu in the Application Menu Bar or
from the View submenu in the MASCHINE menu.
The Browser button in the Header.
You can also show/hide the Browser from your computer keyboard via the [F4] function key.
3.2.4 Minimizing the Mixer

When MASCHINE is in Mix view, you can minimize/maximize the Mixer in the top part of the
MASCHINE window:
► Click the arrow button at the bottom left of the Mixer to show and hide the channel de-
tails in the Mixer.
Basic Concepts
Minimizing/maximizing the Mixer.
3.2.5 Showing/Hiding the Control Lane

When MASCHINE is in Arrange view, you can show/hide the Control Lane under the Pattern
Editor:
► Click the arrow button on the bottom left of the Pattern Editor to show and hide the Con-
trol Lane.
Basic Concepts
Common Operations
Click the arrow button at the bottom left of the Pattern Editor to show/hide the Control Lane.
3.3 Common Operations

This sections introduces a few very common operations in MASCHINE you will encounter in
numerous situations.
3.3.1 Using the 4-Directional Push Encoder

The 4-Directional Push Encoder (referred to as the Encoder) combines the functionalities of a
conventional joystick, of a button, and of a continuous encoder. These aspects make it into a
multi-functional control element that can be used for navigation, for adjusting values of param-
eters, and for controlling instruments. Hence, it can be moved to the four directions: up, down,
left, and right, as well as being pushed and rotated.
Basic Concepts
Common Operations
The Encoder situated to the left of the VOLUME, SWING and TEMPO buttons.
Depending on the menu or context, the available actions differ:

▪ The displays are navigated by moving the 4-D encoder in a direction indicated by the sur-
rounding LEDs.
▪ Entries in a list are browsed by turning the 4-D encoder.
▪ The value of a highlighted parameter is adjusted by turning the 4-D encoder.
▪ A selection is confirmed by pushing the 4-D encoder.
3.3.2 Pinning a Mode on the Controller

Besides the default Control modes (CHANNEL or PLUG-IN), where one remains lit, your con-
troller additionally has various other modes of operation, which you can enter by pressing their
dedicated buttons. Depending on their purpose and workflow, these controller modes are of
two types:
▪ Temporary modes only stay active as long as you hold down their button on the controller.
When you release the button, your controller returns to Control mode. This is for example
the case with the MUTE button.
▪ Permanent modes stay active even if you release their button. To deactivate them, you must
press their button a second time. This is for example the case with the BROWSE button.
Basic Concepts
Common Operations
But in some situations you might want to release the mode button of a temporary mode with-
out leaving that mode, e.g., to free your hand and tweak other controls more easily. For this
purpose, MASCHINE lets you pin (or “lock”) temporary modes so that they behave like perma-
nent modes.
► To pin a mode on your controller, press the relevant mode button (SCENE, PATTERN,
etc.) + Button 1 above the left display.
→ Now the mode is always pinned when you select it.

► To unpin a mode (i.e. make it a temporary mode again), press its mode button + Button 1
again.
→ Now the mode will only be active as long as you hold the mode button.
Here is a list of all buttons on your controller that you can pin by pressing Button 1 simultane-
ously:
▪ All buttons in the column at the left of the pads (SCENE, PATTERN, …, SOLO, MUTE)
▪ SHIFT + NOTE REPEAT (Arp) button
▪ AUTO button: Instead of using Button 1, press SHIFT + AUTO to pin the AUTO mode.
Moreover, when you leave this mode it is automatically unpinned — it will be temporary
again next time you press AUTO.
▪ MACRO button: Instead of using Button 1, press SHIFT + MACRO (Set) to pin Set Macro
mode.
3.3.3 Adjusting Volume, Swing, and Tempo

At any time you can quickly adjust volume levels, swing, and the overall tempo of your Project
using the Quick Edit buttons.
3.3.3.1 Adjusting Volume, Swing and Tempo in the MASCHINE Software
Adjusting Volume
To adjust the various volume levels in the software, the following controls are at your disposal:
Basic Concepts
Common Operations
► To adjust the overall output level, click and drag the Master Volume slider located on the
right part of the Header, at the top of the window.
Use the Master Volume slider in the Header to adjust the overall volume of MASCHINE.
You can also use Mix view to adjust your Sound and Group levels. Mix view gives you quick access
to the level and routing settings of all your Sounds, Groups, and the Master. In addition, it provides
you with an intuitive interface for adjusting the parameters of all your Plug-ins. More on this in sec-
tion The Mix View.
Adjusting Swing
To adjust the overall Swing of your song, you can use the display in the Header, at the top of
the MASCHINE window:
The SWING control in the Header.
► To adjust the Swing value of your Project, click the SWING value, hold the mouse button
and drag vertically.
Adjusting Tempo
To adjust the overall Tempo of your song, you can use the display in the Header, at the top of
the MASCHINE window:
The BPM control in the Header.
► To adjust the Tempo (Beats Per Minute) value of your Project, click the BPM value, hold
the mouse button and drag vertically.
Basic Concepts
Common Operations
3.3.3.2 Adjusting Volume, Swing, Tempo and Tune on Your Controller
Adjusting Volume
► Press the VOLUME button near the 4-D encoder.
→ The VOLUME button lights up. You can now adjust the volume for your overall Project, for
each Group, and for each Sound individually using the 4-D encoder:
▪ To adjust the overall volume, turn the 4-D encoder. Hold SHIFT to adjust the value in finer
increments.
▪ To adjust the volume of a particular Group, hold its Group button (A–H) and turn the 4-D
encoder. Hold SHIFT to adjust the value in finer increments.
▪ To adjust the volume of an individual Sound, press and hold its pad and turn the 4-D en-
coder. Hold SHIFT to adjust the value in finer increments.
As you adjust the volume, the left display shortly indicates its current value.
It is recommended you try this while your Pattern is playing, you will immediately hear the effect of
your changes.
Adjusting Swing
Now adjust the overall swing of your Project. The Swing feature shifts some of the played
notes, hereby adding some “groove” to your Pattern. The procedure is similar to the one descri-
bed above for the volume:
1. Press the SWING button near the 4-D encoder.
The SWING button lights up. If the VOLUME button was still on, it turns off.
2. Turn the 4-D encoder to adjust the swing for your overall Project.
As you adjust the swing, the left display shortly indicates its current value.
You can also adjust the individual Swing values for Sounds and Groups by holding the desired
Group button or pad as described above for the volume.
Basic Concepts
Common Operations
Adjusting Tempo/Tune
► Press the TEMPO button.
→ The TEMPO button lights up. You can now adjust the tempo of your Project as well as the
tune for each Group and for each Sound individually using the 4-D encoder:
▪ To adjust the tempo, turn the 4-D encoder. Hold SHIFT to adjust the value in finer incre-
ments.
▪ To adjust the tune of a particular Group, press and hold its Group button (A–H) and turn
the 4-D encoder. Hold SHIFT to adjust the value in finer increments.
▪ To adjust the tune of an individual Sound, press and hold its pad and turn the 4-D encod-
er. Hold SHIFT to adjust the value in finer increments.
As you adjust the tempo or the tune, the left display shortly indicates its current value.
It is recommended you try this while your Pattern is playing, you will immediately hear the effect of
your changes.
► When you are done with your volume, swing, and tempo changes, press the lit VOLUME,
SWING, or TEMPO button to deactivate it.
3.3.4 Undo/Redo
Undoing and re-doing your last actions can be useful to cancel operations you have performed
or to compare two versions before and after a change. You can undo nearly everything you did
after loading or creating your Project.
Note: If you save your Project, you will no longer be able to undo or redo any actions performed be-
fore saving!
MASCHINE provides two different undo/redo features, each of them being suited for specific
situations:
▪ Step Undo allows you to cancel your last single action.
▪ Take Undo allows you to cancel your last group of actions.
Basic Concepts
Common Operations
Step Undo
Step Undo/Redo is the classic undo/redo found in most applications. It cancels or re-executes
each single action you have performed.
In the software use the following keyboard shortcuts for the Step Undo and Step Redo func-
tions:
► To cancel your last action (Step Undo), press [Ctrl]+[Shift]+[Z] ([Cmd]+ [Shift]+ [Z] on
macOS). To re-execute your last action (Step Redo), press [Ctrl]+ [Shift]+ [Y] ([Cmd]+
[Shift]+ [Y] on macOS). You can also select Undo Step and Redo Step from the Edit
menu in the Application Menu Bar or from the Edit submenu in the MASCHINE menu.
The commands in the Edit menu additionally shows which action will be undone/redone!
Take Undo
Suppose you have just recorded a 16th-note hi-hat beat over four bars, but then decide to can-
cel it. Normally you would have to cancel the 64 notes one at a time, repeatedly calling the
undo function 64 times in a row. This is what Take Undo has been made for!
Take Undo/Redo is an extended undo/redo available while recording that allows you to cancel
or re-execute a whole group of actions at once.
Take Undo/Redo is the default undo/redo in MASCHINE. In the software use the common key-
board shortcuts for the Undo and Redo functions:
► To cancel your last group of actions, press [Ctrl]+[Z] ([Cmd]+[Z] on macOS). To re-exe-
cute your last group of actions, press [Ctrl]+[Y] ([Cmd]+[Y] on macOS). You can also se-
lect Undo and Redo from the Edit menu in the Application Menu Bar or from the Edit
submenu in the MASCHINE menu.
The commands in the Edit menu additionally shows which action will be undone/redone!
Undo/Redo on the Controller

Both Take Undo and Step Undo are also available on your controller:
1. To undo a take, press SHIFT + pad 1 (UNDO).
Basic Concepts
Common Operations
2. To redo a take, press SHIFT + pad 2 (REDO).

3. To undo a step, press SHIFT + pad 3 (STEP UNDO).
4. To redo a step, press SHIFT + pad 4 (STEP REDO).
Take Undo is available in following situations:
▪ Recording in Control mode
▪ Recording in Step mode
▪ Recording modulation
Outside of these three situations, Take Undo has the same effect as Step Undo (see above).
3.3.5 List Overlay for Selectors

Many MASCHINE parameters are presented in the form of a selector providing a list of possible
values for the parameter (e.g., the Mode parameter of the Saturator Plug-in or the Dest. param-
eter in the Audio page of the Sound’s/Group’s Output Channel settings).
A selector.
From your controller, you can adjust such a parameter by turning the corresponding Knob un-
der the display of your controller.
When you touch the Knob of that parameter, a list appears above the parameter on the display
of your controller. This list shows you at a glance all possible values for the parameter you are
touching along with the value currently selected, making the value selection much more intui-
tive.
Basic Concepts
Common Operations
Touch the Knob under a selector (here the MODE parameter under the left display) to open a list with the values available
for selection.
The list is displayed as long as you touch or turn the corresponding Knob. When you release
the Knob, the list disappears after a short delay.
Only one list can be displayed at a time. If you actuate two or more Knobs that control selectors,
only the list for the last-touched Knob will be shown.
3.3.6 Zoom and Scroll Overlays

When your controller is in particular modes, you can use Knob 5 and 6 to respectively zoom
and scroll horizontally through the content shown in the right display. In some cases e.g., in
Keyboard mode you can additionally use Knob 7 (in Pad Mode) to change the height of the
Sound lane, or Knob 8 (except in Pad Mode) to scroll vertically through this content.
The zooming and scrolling functions are indicated, when available, by little icons that appear
as overlays above the relevant Knobs as soon as you touch any of them. This way, in case of
doubt, a simple touch on any Knob below the right display will indicate if some zooming and
scrolling functions are available.
Basic Concepts
Common Operations
When you touch any of the Knobs 5–8, little icons appear above the Knobs used for zooming/scrolling in the display.
3.3.7 Focusing on a Group or a Sound

To display the content and parameters of a particular Sound or Group, you first need to put it
in focus.
Setting the focus on a Sound or Group is slightly different than selecting it: The focus defines
what will be displayed, whereas the selection defines what will be affected by your edits. Note
that a focused Sound/Group is always selected. The distinction is of importance because you
can select multiple Sounds or Groups to apply your edits to all of them at once! See section
↑5.1.3, Selecting Multiple Sounds or Groups for more on this.
We show here how to put Sounds and Groups in focus when the MASCHINE software is in Arrange
view (default view). For instructions on putting Sounds and Groups in focus in Mix view, please re-
fer to chapter ↑13.2.3, Selecting Channel Strips.
Basic Concepts
Common Operations
Setting the Focus on a Group

► To put a Group in focus, click this Group in the Group List of the Arranger:
→ The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of
that Group.
Basic Concepts
Common Operations
The focused Group is highlighted and the Pattern Editor show its content.
If the desired Group does not appear in the Group List, use the scroll bar at the right end of the
Arranger or turn your mouse wheel while hovering the Arranger to display any hidden Groups. You
can also extend the Arranger by dragging its lower right corner vertically with the mouse.
You can also select multiple Groups at once to apply changes to all of them. See section ↑5.1.3,
Selecting Multiple Sounds or Groups for more information.
Setting the Focus on a Sound

To put a Sound in focus:
Basic Concepts
Common Operations
1. Set the focus to the Group containing the desired Sound by clicking it in the Group List
on the left of the Arranger (see above).
The focused Group is highlighted. The Pattern Editor displays the Sounds and Patterns of
that Group.
2. Click the desired Sound slot in the Sound List of the Pattern Editor:
→ The focused Sound slot is highlighted.
The focused Sound slot is highlighted.
Basic Concepts
Common Operations
If the desired Sound does not appear in the Sound List, use the scroll bar at the right end of the
Pattern Editor or turn your mouse wheel while hovering the Pattern Editor to display any hidden
Sounds.
You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3,
Focusing on a Group using the Hardware

1. If necessary, press SHIFT + the desired Group button A–H to switch to the Group bank
containing the desired Group.
2. Press the desired Group button A–H.
→ The corresponding Group is now in focus.
Once the Group is focused you can use Button 1–3 above the left display to quickly switch between
the Master, the focused Group and the last focused Sound in that Group! See section ↑3.3.8,
Switching Between the Master, Group, and Sound Level for more information.
Setting the Focus on a Sound using the Hardware

1. If you want to set the focus on a Sound located in another Group, first set the focus on its
Group as described above.
2. Press SELECT + the pad of the desired Sound (or simply press its pad if pads are in Pad
Mode).
→ The corresponding Sound is now in focus.

Once the Sound is focused you can use Button 1–3 above the left display to quickly switch
between the Master, the containing Group and the focused Sound! See section ↑3.3.8, Switch-
ing Between the Master, Group, and Sound Level for more information.
You can also select multiple Sounds at once to apply changes to all of them. See section ↑5.1.3,
Basic Concepts
Common Operations
3.3.8 Switching Between the Master, Group, and Sound Level

At any time you can quickly switch the Control area between the parameters of the Master, the
focused Group, and the focused Sound.
Click the desired tab to switch the display of the Control area.
► Click the MASTER, GROUP or SOUND tab in the top left corner of the Control area to dis-
play the Plug-in parameters or Channel properties of the Master, the focused Group or the
focused Sound, respectively.
→ The selected tab lights up. The name of your Project, the focused Group or the focused
Sound appears under the MASTER, GROUP, and SOUND tabs (the Muddy Matt Sound in
the picture above), and the rest of the Control area displays the Plug-in parameters and
Channel properties of the Master, the focused Group or the focused Sound, respectively.
Switching Between the Master, Group, and Sound Level using the Controller
On your controller:
1. Press the CHANNEL or PLUG-IN button to enter Control mode.
2. Press Button 1 (MASTER), Button 2 (GROUP) or Button 3 (SOUND) above the left display
to show the Plug-in parameters and Channel properties of the Master, the focused Group
or the focused Sound, respectively.
→ The selected tab lights up. The name of your Project, the focused Group or the focused
Sound appears on the left display (under the MASTER, GROUP, and SOUND tabs), and
the displays show the Plug-in parameters and Channel properties of the Master, the fo-
cused Group or the focused Sound, respectively.
Basic Concepts
Common Operations
3.3.9 Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area
We describe here how to display/edit any Plug-in parameters or Channel properties located in
any Sound, Group or the Master.
To select a particular Plug-in or a particular set of Channel properties, you first need to display
the parameters of the Master, the desired Group or Sound.
1. To display the parameters of a particular Group or Sound, put it in focus by clicking it in
the Group List or Sound List, respectively (see section ↑3.3.7, Focusing on a Group or a
Sound).
2. In the top left corner of the Control area, click the MASTER, GROUP or SOUND tab to
display the parameters of the Master, the focused Group or the focused Sound, respec-
tively.
→ The Control area now displays the Plug-in parameters and Channel properties of the de-
sired Sound, desired Group or the Master.
Selecting Channel Properties

1. At the far left of the Control area, click the Channel icon (showing a little knob) to display
the Channel properties:
The button lights up. The Channel Property selector appears in the left part of the Control
area, showing a square of four buttons representing the various sets of Channel properties
available for the selected Sound, Group or the Master:
Basic Concepts
Common Operations
2. Click the desired button (Input, Output, Groove, or Macro) in the Channel Property selec-
tor to select that set of Channel properties.
→ The selected button is highlighted and the parameters of the selected Channel properties
appear in the Parameter area (the right and biggest part of the Control area).
Selecting a Plug-in
1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins:
The icon lights up. The Plug-in List appears in the left part of the Control area, showing a
stack of all Plug-ins loaded in the selected Sound, Group or the Master:
2. Click the desired Plug-in slot in the Plug-in List to select that Plug-in.
→ The parameters of the selected Plug-in appear in the Parameter area (the right and biggest
part of the Control area).
If the Plug-in List only shows a “+” sign, it means that there are no Plug-ins loaded in this Sound,
Group or the Master. Clicking the “+” sign allows you to load a new Plug-in: see section ↑7.1.3,
Loading, Removing, and Replacing a Plug-in for more on this.
Navigating Parameter Pages

In some situations, the selected Plug-in or Channel properties provide more parameters than
the display(s) of your controller and the Parameter area in the software can show at once. Ex-
amples of this are the parameters for the Groups’ or Sounds’ Output properties and those for
the Sampler Plug-in. In these cases, the parameters are divided into several Parameter pages
that you can easily navigate with the hardware and software.
Basic Concepts
Common Operations
In the software the names of the available pages are displayed at the top of the Parameter
area. The name of the page currently displayed is highlighted.
► Click the desired page name at the top of the Parameter area to show the corresponding
Parameter page.
The Parameter pages of the Sound’s Output properties: Audio (currently displayed), Aux, and MIDI.
If all page names cannot be displayed at once at the top of the Parameter area, two small ar-
rows are displayed on the left to click through the pages:
► Click the left or right arrow to access additional pages.
Adjusting the Parameters

In the Parameter area, each parameter includes a control element and a label. Following types
of control elements are available:
Basic Concepts
Common Operations
Element Action
Knob: Click the knob and drag your mouse vertically to change
the parameter value. Hold [Shift] on your computer keyboard and
drag your mouse to adjust the value in finer increments.
Button: Click the button to switch its state. When the button is
enabled, it shows a small colored LED.
Selector: Click the displayed value to open the drop-down list,

and click another value in the list to select it.
Navigating Channel Properties, Plug-ins, and Parameter Pages using the Controller
On the controller, do the following:
1. Set the focus on the desired Sound, Group or the Master (see section ↑3.3.7, Focusing on
a Group or a Sound).
2. At the top left of your controller, press the CHANNEL button to display the Channel prop-
erties or the PLUG-IN button to display the Plug-in slots of the selected Sound, Group or
the Master.
3. Press Button 1 (MASTER), Button 2 (GROUP) or Button 3 (SOUND) to display the Plug-
ins and Channel properties of the Master, the focused Group or the focused Sound, re-
spectively.
4. Use the 4-D encoder or press Button 5/6 to navigate the Channel properties or Plug-ins
(the name of the selected Channel properties or Plug-in appears between the left and
right arrows under Button 5 and 6).
Upon your selection the parameters of the selected Channel properties or Plug-in are
shown on the displays of your controller.

Basic Concepts
Common Operations
5. Use the Page buttons left of the displays to navigate through the Parameter pages of the
selected Channel properties or Plug-in:
Moreover, if there is another page available to the left or to the right of the current page,
the corresponding Page button will be half lit on your controller.
6. Use Knobs 1–8 under the displays to adjust the value of the parameters available on the
selected page. For continuous parameters, hold SHIFT while turning the Knobs to adjust
the values in finer increments.
The displays showing the Audio page from the Group’s OUTPUT properties.

Basic Concepts
Common Operations
Using the Navigate Mode

Alternatively, you can also navigate Channel properties and Plug-ins along with their Parameter
pages via the Navigate mode of your controller:
1. Press SHIFT + VARIATION (Navigate) to enter Navigate mode (or pin it by pressing NAVI-
GATE + Button 1).
2. Hold SHIFT + VARIATION (Navigate), then Button 2 (PAGE NAV) to enter Page Naviga-
tion mode.
3. Press the CHANNEL button to display the Channel properties or the PLUG-IN button to
display the Plug-in slots of the selected Sound, Group or the Master.
4. Press Button 5/6 to navigate the Channel properties or Plug-ins.
The name of the selected Channel properties or Plug-in appears between the left and right
arrows under Button 5 and 6. Furthermore this Plug-in or set of Channel properties is
highlighted on the left display.
5. Press the dimmed pads to select the desired Parameter pages. The names of the available
Parameter pages are shown on the right display along with the corresponding pads.
6. Upon your selection the corresponding pad turns fully lit and the page name is highlight-
ed on the right display.
7. If there are more than 16 Parameter pages, press Button 7/8 to switch to the previous/
next 16 pages, respectively.
8. Release the VARIATION (Navigate) button to get back to Control mode (or press VARIA-
TION (Navigate) a second time if you pinned the Navigate mode).
→ The selected Parameter page now appears on the displays. Use Knobs 1–8 under the dis-
plays to adjust the parameters.
3.3.9.1 Extended Navigate Mode on Your Controller

The Navigate mode on your controller can be used to navigate the Parameter pages of Channel
properties and Plug-ins and adjust the view settings of specific areas in the software interface.
► Press and hold SHIFT + VARIATION (Navigate) to enter Navigate mode.
The Navigate mode has two distinct submodes:

Basic Concepts
Common Operations
▪ The default Software Navigation mode lets you adjust the look of the software interface: You
can show/hide specific elements and change zoom/scroll settings.
▪ The Page Navigation mode allows you to navigate Channel properties, Plug-ins along with
their Parameter pages.
You can switch between Software Navigation and Page Navigation mode at any time:
► When your controller is in Navigate mode, hold SHIFT + VARIATION (Navigate) + But-
ton 2 (PAGE NAV) to switch between Software Navigation and Page Navigation mode.
When PAGE NAV is off (default setting) your controller is in Software Navigation mode. When
PAGE NAV is on your controller is in Page Navigation mode.
The Software Navigation mode allows you to customize the user interface of the MASCHINE
software by showing or hiding specific parts of the interface and changing the zoom and scroll
settings in the Ideas view, Song view and the Pattern Editor.
Action Shortcut
Access Ideas view Press Button 2 (IDEAS)
Access Song view Press Button 3 (ARRANGER)
Maximize/minimize the Mixer Press Button 4 (MIXER)
Show/hide the Browser Press Button 5 (BROWSER)
Show/hide the Control Lane Press Button 7 (MOD)
Follow Song Press Button 8 (FOLLOW)
Timeline Zoom in/out (Song view only) Turn Knob 1 or press pad 14/10
Timeline Scroll left/right (Song view only) Turn Knob 2 or press pad 9/11
Pattern Editor Zoom in/out Turn Knob 5 or press pad 6/2
Pattern Editor Scroll left/right Turn Knob 6 or press pad 1/3
Sound Lane Height (Pad Mode only) Turn Knob 7
Pattern Editor Scroll up/down (Except Turn Knob 8 or press pad 8/4
Pad Mode)

Basic Concepts
Common Operations
The Page Navigation mode allows you to navigate the Parameter pages available in the Channel
properties and Plug-ins of the various channels (Sounds, Groups, and Master) in your Project.
To access Page Navigation mode:
► Hold SHIFT + VARIATION (Navigate), then Button 2 (PAGE NAV) to enter Page Naviga-
tion mode.
→ When Page Navigation mode is enabled, your controller displays the Page Navigation
mode:
The left-hand display provides an overview of the selected Channels or Plug-ins for the select-
ed Sound.
► To access each Channel or Plug-in for the selected Sound, press Buttons 5 and 6.
→ After selecting a Plug-in, the available pages are displayed in the software, and on the
right-hand display of your controller.
The right-hand display provides an overview of the available pages for the selected Channel or
Plug-in.
► To access each page of the selected Channel or Plug-in, press pads 1–16.
→ After pressing a pad the selected page is displayed in the software, and on the controller
when you exit Navigation mode by pressing the PLUG-IN button.
When there are more than sixteen pages for a Channel or Plug-in it is necessary to use the
Page Bank.
► To access another page with the Page Bank press Buttons 7 and 8.
The pages for the selected bank are displayed in the software and the controller.
► To access Page Navigation mode press NAVIGATE + SHIFT + Button 2.
→ When Page Navigation mode is enabled, your controller displays the Page Navigation
mode:
The left-hand display provides an overview of the selected Channels or Plug-ins for the select-
ed Sound.
► To access each Channel or Plug-in for the selected Sound, press Buttons 5 and 6.

Basic Concepts
Common Operations
→ After selecting a Plug-in, the available pages are displayed in the software, and on the
right-hand display of your controller.
The right-hand display provides an overview of the available pages for the selected Channel or
Plug-in.
► To access each page of the selected Channel or Plug-in, press pads 1–16.
→ After pressing a pad the selected page is displayed in the software, and on the controller
when you exit Navigation mode by pressing the NAVIGATE button.
When there are more than sixteen pages for a Channel or Plug-in it is necessary to use the
Page Bank.
► To access another page with the Page Bank press Buttons 7 and 8.
The pages for the selected bank are displayed in the software and the controller.
3.3.10 Navigating the Software Using the Controller

You can use the controller to adjust the position and zoom factor in the software.
To access the Navigation mode:
► Press SHIFT + VARIATION (Navigate).
Navigating the Pattern Editor

To control the position and zoom factor in the Pattern Editor from your controller:
Action Shortcut
Scroll Pattern Editor left Press pad 1
Scroll Pattern Editor right Press pad 3
Zoom in to Pattern Editor Press pad 6
Zoom out of Pattern Editor Press pad 2
Navigating Song View

To control the position and zoom factor in the Song view from your controller:

Basic Concepts
Common Operations
Action Shortcut
Scroll Arranger left Press pad 9
Scroll Arranger right Press pad 11
Zoom in (Arranger) Press pad 14
Zoom out (Arranger) Press pad 10
3.3.11 Using Two or More Hardware Controllers

If two or more MASCHINE controllers of different types are connected to your computer, only
one controller can be used to control the MASCHINE software at a time.
If you have more than one instance of the MASCHINE software running on your computer, you can
control each instance with a different controller. See ↑3.5.3, Controlling Various Instances with Dif-
ferent Controllers for more information.
A controller not connected to any MASCHINE software instance can be used in MIDI mode (i.e. as a
MIDI controller) at the same time as the other controller(s). See the Controller Editor Manual for
more information on MIDI mode.
You can choose which controller you want to use with the MASCHINE software. This can be
done both from your controller and in the software.
You can select the desired controller from the Controller menu in the Application Menu Bar or
from the Controller submenu in the MASCHINE menu:

Basic Concepts
Common Operations
Click the MASCHINE menu and select the controller you want to use.
Hardware
On the controller you want to use with the MASCHINE software, do the following:
▪ MASCHINE (MK3) controller: Press SHIFT + PLUG-IN, turn the 4-D encoder to select the
desired instance, and press the 4-D encoder or Button 4 to load it.
▪ MASCHINE STUDIO controller: Press SHIFT + PLUG-IN, turn the jog wheel to select the
desired instance, and press the jog wheel or Button 8 to load it.
▪ MASCHINE (MK1 & MK2) controller: Press SHIFT + STEP, turn Knob 8 (or press But-
ton 5/6) to select the desired instance, and press Button 8 to load it.
▪ MASCHINE MIKRO (MK1 & MK2) controller: Press SHIFT + F2, turn the Control encoder
to select the desired instance, and press the Control encoder to load it.
▪ MASCHINE JAM controller: Press SHIFT + H (INSTANCE), turn the Control encoder to se-
lect the desired instance, and press the Control encoder to load it.

Basic Concepts
Common Operations
▪ KOMPLETE KONTROL Keyboard MK1: Press INSTANCE and turn the Control encoder to
select the desired instance, and press the Control encoder to load it.
▪ KOMPLETE KONTROL Keyboard MK2: Press INSTANCE and turn the 4-D encoder to se-
lect the desired instance, and press the 4-D encoder to load it.
3.3.12 Touch Auto-Write Option

Modulation recording also benefits from the touch sensitivity of Knobs 1–8 via the Touch Auto-
write option.
Reminder: To record modulation from your MASCHINE controller, activate playback, switch your
controller to Auto-write mode by pressing and holding AUTO, and then turn the Knobs 1–8 to adjust
parameters. For more information, please refer to section ↑11.5.2, Recording Modulation.
Enabled by default, the Touch Auto-write option allows you to record modulation events as
soon as you touch Knobs 1–8, even if you don’t rotate them:
▪ If Touch Auto-write is disabled, modulation events are recorded only when you rotate the
Knobs 1–8 (as in previous MASCHINE versions).
▪ If Touch Auto-write is enabled, modulation events are recorded as soon as you touch the
Knobs 1–8, whether you actually rotate them or not:
◦ If you rotate the Knobs, the new modulation values are recorded for the corresponding
parameters.
◦ If you touch the Knobs but don’t rotate them, the last modulation values for these pa-
rameters keep being recorded as new events as the playhead moves forward, thereby
overwriting any existing modulation events at the playhead position. Modulation stops
being recorded when you release the Knob(s).
Enabling/Disabling Touch Auto-Write

The Touch Auto-write option can be enabled or disabled in the Hardware page of the Preferen-
ces panel:

Basic Concepts
Common Operations
The Touch Auto-write check box in the Hardware page of the Preferences panel.
► To enable or disable the Touch Auto-write option, click the Touch Auto-write check box in
the Touch-Sensitive Knobs section of the Hardware page in the Preferences panel.
To access the Touch-Sensitive Knobs section in the Hardware page, your MASCHINE controller
must be connected to your computer and controlling the MASCHINE instance. Moreover if a KOM-
PLETE KONTROL S-Series keyboard is also focused on that MASCHINE instance, make sure that
your MASCHINE controller is selected in the Controller menu at the top of the Hardware page in
order to see its settings! For more information, see section Controller Menu in the Hardware Page of
the Preferences Panel.
Example of Use
Touch Auto-write can be very handy if a parameter already has some modulation recorded in
the Pattern, and you want to re-record modulation for this parameter, this time at a constant
value:

Basic Concepts
Native Kontrol Standard
▪ With Touch Auto-write disabled (and in previous MASCHINE versions), you have to con-
stantly rotate the Knob to ensure that the old modulation events are actually replaced by
the new ones. To simulate a new constant modulation value, you had no other choice than
slightly rotate the Knob incessantly around the desired value.
▪ With Touch Auto-write enabled, you just need to keep a finger on the Knob: The current
modulation value is recorded in new modulation events as long as you touch the Knob, au-
tomatically replacing any old modulation events at these positions.
3.4 Native Kontrol Standard

Native Kontrol Standard (NKS) is a software instrument format that allows third-party develop-
ers to integrate with MASCHINE and KOMPLETE KONTROL hardware and software at the
same deep level as KOMPLETE Instruments.
The Native Kontrol Standard includes:
▪ Seamless integration into the MASCHINE and KOMPLETE KONTROL Browser for a unified
browsing experience.
▪ Full parameter mapping for instant hands-on control.
▪ Support of KOMPLETE KONTROL S-SERIES features such as the Light Guide.
NKS instruments can be found in the MASCHINE Browser next to your KOMPLETE Instru-
ments. All of their presets are fully tagged, so filtering in the Browser gives you matching re-
sults from both KOMPLETE Instruments and NKS instruments (see section ↑4.2.6, Selecting
Type and Mode Tags). And when you load a preset from an NKS instrument, its parameters are
mapped to the controls on your KOMPLETE KONTROL S-SERIES keyboard in a meaningful
way, just like any preset from your KOMPLETE Instruments.
NKS instruments are automatically added to your Library when you start MASCHINE or KOM-
PLETE KONTROL for the first time after installing the instrument (except KONTAKT instru-
ments with NKS support, see below). The folders containing the preset files for NKS support
can be managed in the Factory pane on the Library page of the Preferences (see section
↑3.7.5, Preferences – Library Page).

Basic Concepts
Stand-Alone and Plug-in Mode
Installing KONTAKT Instruments with NKS Support

Third-party developers of KONTAKT instruments provide you with a folder that contains all in-
strument files, including presets and samples. Instead of running an installer, this folder needs
to be stored on the hard drive. The instrument can then be activated with Native Access, which
also adds it to the MASCHINE and KOMPLETE KONTROL Libraries. If you are using KON-
TAKT, the instrument is automatically added to your KONTAKT Browser too.
To activate your KONTAKT instrument with NKS support and add it to the MASCHINE Library,
follow the steps below:
1. Start the stand-alone version of the MASCHINE software.
2. In the File menu click on Manage Products….
3. Click on Add a serial in the top-left corner of Native Access.
4. Enter the serial number of the instrument and click ADD SERIAL.
5. Click BROWSE and open the folder containing the instrument files in the file dialog.
6. Click on INSTALL to add the instrument to your MASCHINE Library.
→ The instrument is installed. MASCHINE automatically scans for the new content and adds
it to the MASCHINE Browser.
The MASCHINE, and KOMPLETE KONTROL Libraries, and the KONTAKT Browser reference the in-
strument files contained in the folder. It is recommended to not delete or move the folder after-
wards, or otherwise MASCHINE, KOMPLETE KONTROL, and KONTAKT will not be able to find the
instrument files. If an instrument cannot be found, use the Rescan function on the Preferences’
Library page to update the Library with the correct folder location (see section ↑3.7.5, Preferences
– Library Page).
3.5 Stand-Alone and Plug-in Mode

You can run the MASCHINE software as a stand-alone application or integrate it into your fa-
vorite host by loading it as a plug-in. The MASCHINE software is available in the VST, Audio
Unit, and AAX plug-in formats. For further information on plug-in compatibility and for a de-
tailed description of how to use plug-ins in your host, please refer to the documentation in-
cluded with your host software.

Basic Concepts
3.5.1 Differences between Stand-Alone and Plug-in Mode
Transport Functions
The most noticeable difference between the stand-alone and plug-in mode of MASCHINE re-
lates to the interaction with MASCHINE’s sequencer. Indeed, when MASCHINE is used as a
plug-in within a host sequencer software (e.g., Cubase or Pro Tools), MASCHINE’s sequencer
is exclusively controlled by the host application: you cannot, e.g., manually start, stop or re-
start the playback in MASCHINE, nor modify the tempo or the time signature of your Project
within the MASCHINE plug-in itself — these are synchonized to your host’s own transport
functions and tempo settings. As a direct consequence, when MASCHINE is used as a plug-in
the Restart and Play buttons as well as the Tempo and Time Signature fields are grayed out
and inactive in the MASCHINE Header. Obviously you cannot control MASCHINE’s playback
and tempo settings from your MASCHINE controller either.
However from your controller you can directly control the transport functions of your host applica-
tion instead. See section Controlling your Host’s Transport Functions in Plug-in Mode for more in-
formation.
Audio and MIDI Handling

When MASCHINE is used in stand-alone mode, it directly communicates with your audio and
MIDI interface. You can select which physical audio/MIDI ports have to be used on your inter-
face, and configure crucial audio settings like the sample rate. All this is done via the Audio
and MIDI Settings panel (for more information on this, please refer to ↑3.8, Integrating MA-
SCHINE into a MIDI Setup).
On the contrary, When MASCHINE is used as a plug-in within a host application, the commu-
nication with your audio and MIDI interfaces is managed by the host — the MASCHINE plug-
in only communicates with the host. Native Instruments’ Online Knowledge Base provides
how-tos that will help you route the MASCHINE plug-in to multiple tracks/outputs in the major
hosts:
▪ How to route MASCHINE to multiple outputs in Ableton Live:
http://www.native-instruments.com/knowledge/questions/1705

Basic Concepts
▪ How to route MASCHINE to multiple outputs in Cubase:

▪ How to route MASCHINE to multiple outputs in Pro Tools:
▪ How to route MASCHINE to multiple outputs in Logic Pro:
For all details on the audio and MIDI configuration of your host application, please refer to its docu-
mentation.
Multiple Plug-in Instances

When you are using MASCHINE as a plug-in within a host application, you can open multiple
MASCHINE instances. Actually, you can load as many instances of MASCHINE as your com-
puter and your host application can handle CPU-wise. In contrast to the stand-alone applica-
tion, they are always synced to the host. In plug-in mode you can also send MIDI Program
Change messages from your host to switch between MASCHINE’s Scenes or between patches
of other plug-ins loaded into MASCHINE, or record automation for MASCHINE parameters. To
learn more about these, have a look at chapter ↑16.5, Triggering Sections or Scenes via MIDI
and ↑12.2, Using MIDI Control and Host Automation.
3.5.2 Switching Instances

When two or more instances of the MASCHINE software are running (e.g., as plug-ins on dif-
ferent tracks of your DAW), you must choose which instance you want to control from your
hardware controller. You can do this both from your controller and in the software.
► To select your controller from a particular MASCHINE instance, click the Connect button
in the MASCHINE Header of that instance.
Click the Connect button to connect the controller to that instance.
Switching Instances using the Controller

To switch from one MASCHINE instance to another:

Basic Concepts
1. Press SHIFT + PLUG-IN.

2. Turn the 4-D encoder to select an instance.
3. Press the 4-D encoder to load that instance.
3.5.3 Controlling Various Instances with Different Controllers

You can use two or more MASCHINE controllers of different types (MASCHINE STUDIO, MA-
SCHINE MK3, MASCHINE MK2, MASCHINE MIKRO MK2, MASCHINE, and MASCHINE MIK-
RO) simultaneously with different instances of the MASCHINE software (possibly with one in-
stance in stand-alone mode). In doing so, the following applies:
▪ Only one MASCHINE controller of any type can be connected to an instance at a time. You
can choose which instance you want to control from each controller as described in ↑3.5.2,
Switching Instances.
▪ When you start a new instance of the MASCHINE software, it connects to one of the MA-
SCHINE controllers according to following precedence rules:
◦ Rule 1: The MASCHINE STUDIO controller focus has priority over the MK3 controller,
which takes priority over all legacy controllers (MASCHINE MK2, MASCHINE MIKRO
MK2, MASCHINE and MASCHINE MIKRO).
◦ Rule 2: The MASCHINE controllers (legacy and MK3) have priority focus over MA-
SCHINE MIKRO controllers.
◦ Rule 1 has priority over rule 2.
3.6 Host Integration

When using advanced host integration, MASCHINE MK3 becomes the centerpiece of your stu-
dio setup. You can use it to control not only the MASCHINE software, or the loaded plug-in,
but also core functionality of supported hosts.
Advanced integration of MASCHINE is available in the following hosts:
▪ Ableton Live
▪ Apple Logic Pro X

Basic Concepts
Host Integration
3.6.1 Setting up Host Integration

MASCHINE integrates with a number of hosts to facilitate a fluent workflow for performing and
recording music with your MASCHINE Library.
3.6.1.1 Setting up Ableton Live (macOS)

Ableton Live must be configured for advanced integration with MASCHINE.
Installing the MIDI Remote Script

The MIDI Remote Script allows Ableton Live to recognize MASCHINE as a control surface. It
must be copied into Live’s MIDI Remote Scripts directory:
1. Ensure that Ableton Live is not running.
2. Navigate to the following folder: Macintosh HD/Library/Application Support/Native Instru-
ments/Host Integration/Ableton Live/
3. Copy the two folders named NativeInstruments and Maschine_MK3 to the clipboard.
4. Open your Applications folder and right-click the Ableton Live application symbol. In the
context menu, click Show Package Contents.
5. In the Ableton Live package, navigate to Contents > App-Resources > MIDI Re-
mote Scripts.
6. Paste the folders you have copied to the clipboard into the MIDI Remote Scripts folder.
Configuring Ableton Live for MASCHINE

Once the MIDI Remote Script and the Instrument Rack file are installed in the correct loca-
tion, you need to add MASCHINE as a control surface in Ableton Live's preferences.
1. Launch Ableton Live.
2. In Ableton Live, go to the Preferences and open the MIDI / Sync tab.
3. Assign a free Control Surface slot to MASCHINE by selecting MASCHINE Mk3 from the
drop-down menu.
4. Leave both the Input and the Output for the MASCHINE Mk3 control surface set to None.

Basic Concepts
Host Integration
3.6.1.2 Setting up Ableton Live (Windows)

Ableton Live must be configured for advanced integration with MASCHINE.
Installing the MIDI Remote Script

The MIDI Remote Script allows Ableton Live to recognize MASCHINE as a control surface. It
must be copied into Live’s MIDI Remote Scripts directory:
1. Ensure that Ableton Live is not running.
2. Navigate to the following folder: C:\Program Files\Common Files\Native Instruments\Host
Integration\Ableton Live\
3. Copy the Maschine_MK3 folder to the clipboard.
4. Navigate to the MIDI Remote Scripts folder in Ableton Live’s installation directory: C:\Pro-
gramData\Ableton\Live10\Resources\MIDI Remote Scripts
5. Paste the folder you have copied to the clipboard into the MIDI Remote Scripts folder.
Configuring Ableton Live for MASCHINE

Once the MIDI Remote Script and the Instrument Rack file are installed in the correct loca-
tion, you need to add MASCHINE as a control surface in Ableton Live's preferences.
1. Launch Ableton Live.
2. In Ableton Live, go to the Preferences and open the MIDI / Sync tab.
3. Assign a free Control Surface slot to MASCHINE Mk3 by selecting it from the drop-down
menu.
4. Leave both the Input and the Output for the MASCHINE Mk3 control surface set to None.
3.6.1.3 Setting up Apple Logic Pro X

Apple Logic Pro X is automatically configured for advanced integration with MASCHINE once
you launch the respective application for the first time after installing the MASCHINE soft-
ware. Ensure that the controller is connected and switched on before launching the applica-
tion.
A dialog asks you to confirm this after launching the application:

Basic Concepts
Host Integration
► When the message OSC app “Maschine” wants to connect to Logic Pro X appears on
screen, click OK.
The MASCHINE stand-alone application must be opened once before using the plug-in within your
DAW for the first time, and after installing new Instruments.
3.6.2 Integration with Ableton Live

If you own Ableton Live, you can control many of its functions directly from the MASCHINE.
The available functions are mapped to sections of the controller as listed below.
The following functionality descriptions apply to the default Ableton Live setup. If, for example, dif-
ferent playback settings have been selected the functionality will respect those settings.
Switching Instances using the Controller

To switch from a MASCHINE instance to controlling Ableton Live:
Transport Control
Action in Ableton Live Control via MASCHINE
Start playback PLAY (Restart)
Start recording REC (Count-In)
Stop playback STOP
Start Arranger recording SHIFT + REC (Count-In)
Enable/disable loop mode LOOP
Enable/disable metronome SHIFT + TAP (Metro)
Tap tempo TAP

Basic Concepts
Host Integration
Edit Control
Undo action SHIFT + Pad 1 (Undo)
Redo action SHIFT + Pad 2 (Redo)
Toggle automation for selected Track on/off AUTO
Arranger Control
Select previous/next Track Move 4-D encoder left/right
Select previous/next Clip Slot in Track 4-D encoder down/up
Start/stop selected Clip SHIFT + push 4-D encoder
Mixer Control
Select a Track Button 1–8
Coarse adjust volume/panorama of selected Knob 1–8
Track
Toggle between Volume and Pan adjust SHIFT + move 4-D encoder up/down
Switch Bank Page Left/Page Right
Mute/unmute Channel MUTE + Button 1–8
Solo/unsolo Channel SOLO + Button 1–8

Basic Concepts
Host Integration
Misc. Control
Select previous/next Clip Move 4-D encoder up/down
Launch focus Clip/Launch focus Scene Push 4-D encoder
Stop focus Clip/Stop focus Scene SHIFT + Push 4-D encoder
3.6.3 Integration with Apple Logic Pro X

If you own Apple Logic Pro X, you can control many of its functions directly from the MA-
SCHINE. The available functions are mapped to sections of the controller as listed below.
Switching an Instance using the Controller

To switch from a MASCHINE instance to Apple Logic Pro X:
Transport Control
Action in Apple Logic Pro X Control via MASCHINE
Start playback PLAY (Restart)
Start recording REC (Count-In)
Stop playback STOP
Start Arranger recording SHIFT + REC (Count-In)
Enable/disable loop mode LOOP
Enable/disable metronome SHIFT + TAP (Metro)
Tap tempo TAP

Basic Concepts
Preferences
Edit Control
Undo action SHIFT + Pad 1 (Undo)
Redo action SHIFT + Pad 2 (Redo)
Quantize to grid value SHIFT + Pad 5 (Quantize)
Toggle automation for selected Track on/off AUTO
Arranger Control
Mixer Control
Select a Track Button 1–8
Coarse adjust volume/panorama of selected Knob 1–8
Track
Toggle between Volume and Pan adjust SHIFT + move 4-D encoder up/down
Switch Bank Page Left/Page Right
Mute/unmute Channel MUTE + Button 1–8
Solo/unsolo Channel SOLO + Button 1–8
3.7 Preferences
The Preferences panel lets you specify various settings for MASCHINE.

Basic Concepts
Preferences
► To open the Preferences panel, click Preferences… in the Maschine menu (macOS) or
File menu (Windows) of the Application Menu Bar, or in the File submenu of the MA-
SCHINE menu:
Preferences… in the File menu of the Application Menu Bar (Windows depicted), and in the File submenu of the MA-
SCHINE menu.
The following pages are available in the Preferences panel:

▪ General: see ↑3.7.1, Preferences – General Page.
▪ Audio: see ↑3.7.2, Preferences – Audio Page.
▪ MIDI: see ↑3.7.3, Preferences – MIDI Page.
▪ Default: see ↑3.7.4, Preferences – Default Page.
▪ Library: see ↑3.7.5, Preferences – Library Page.
▪ Plug-ins: see ↑3.7.6, Preferences – Plug-ins Page.
▪ Hardware: see ↑3.7.7, Preferences – Hardware Page.
▪ Colors: see ↑3.7.8, Preferences – Colors Page.
3.7.1 Preferences – General Page

The General page holds all of the global settings for MASCHINE.

Basic Concepts
Preferences
► To display the General page, click the General tab on the left of the Preferences panel.
The Preferences – General page.
Setting Description
Startup
Reload Last Project Click this checkbox to automatically reload the last Project on
startup.

Basic Concepts
Preferences
Setting Description
Recording Audio
Prefer Project Folder If this checkbox is marked, the Samples you record will be put
in a subdirectory of the folder where your Project is saved. If
not, your recordings will be saved in the generic Recordings
folder in your standard user directory (see section ↑3.7.4,
Preferences – Default Page).
Metronome
Enabled Check this box to activate the metronome. You can also enable
the metronome by clicking the Metronome button in the
MASCHINE Header, for more information see section: ↑11.2.3,
Using the Metronome.
Auto-Enable when Click the checkbox to enable the Auto-Enable option. This
Recording automatically turns on the metronome when you start recording
a Pattern.
When you start recording a Pattern (typically by pressing REC on
your controller), the metronome is automatically enabled. When
you exit recording (e.g., by pressing the lit REC button) the
metronome returns to its state before the recording (this can be
on or off).
The Auto-Enable option can be activated/deactivated both in the
software and from your controller.
The Auto-Enable option does not affect the Count-in: Even if
Auto-Enable is disabled, the metronome turns on when you
press SHIFT + REC to start the Count-in. For more information
on configuring Count-in, refer to section: ↑11.2.4, Recording
with Count-in.
Volume Click the slider to adjust the volume of the metronome.
Signature Select the time interval between each tick of the metronome. By
default the metronome indicates the beats (the quarter notes,
1/4). Here you can select another note value for the ticks.

Basic Concepts
Preferences
Setting Description
Count-in Length Select the duration of the Count-in, i.e. how long the
metronome will sound before the recording actually starts.
Link
Enabled Click the checkbox to enable the Link protocol by default.
Applications that support Ableton Link can join a Link session
when connected to the same network. For more information on
Link please refer to section: ↑3.9, Syncing MASCHINE using
Ableton Link.
Input
Quantize Input Quantize automatically quantizes your input to
MASCHINE as you record.
Select one of the following Input Quantization modes:
None: Input Quantization is disabled. Events you play or record
on the pads are not quantized.
Record: Input Quantization is applied only when you record the
pads.
Play/Rec: Input Quantization is applied both when you play on
the pads and when you record them.
In Play/Rec mode the quantization applied while playing is
slightly different from the quantization applied while recording:
When recording, all events are quantized to the closest step —
possibly ahead of the event. When playing, on the other hand,
events occurring in the first half of the steps are left untouched
(since you cannot bring them forward in the timeline!) whereas
events occurring in the second half of the steps are quantized to
the next step.

Basic Concepts
Preferences
Setting Description
Usage Data Tracking
Allow usage data tracking Here you can select to enable or disable Usage Data Tracking.
Usage Data Tracking technology enables MASCHINE to
automatically track anonymous usage data that you can choose
to share with us.
All users should keep Data Tracking enabled as it provides a
valuable tool for understanding the performance of Native
Instruments applications when they are used in real life
situations. The data sent to Native Instruments is one hundred
percent anonymous and will not affect performance.
For more detailed information about Usage Data Tracking,
please refer to the following Knowledge Base article on the
Native Instruments website:
https://support.native-instruments.com/hc/en-us/articles/
209545029
Adjusting General Preferences Using the Controller MK3

You can access the General preferences directly from the controller. The options found here
are a replica of those found in the software.
To access the General preferences from your controller:
1. Press SETTINGS to display the Settings page.
2. Press Button 1 (GENERAL) to access the General settings.
▪ Turn Knob 1 (LEVEL) to adjust the volume level of the Metronome.
▪ Turn Knob 2 (TIME) to adjust the time interval between each tick of the Metronome.
▪ Turn Knob 3 (AUTO-ON) to automatically enable the metronome when you start recording a
Pattern.
▪ Turn Knob 4 (LENGTH) to adjust the duration of the Metronome count-in.
▪ Turn Knob 5 (MODE) to adjust the quantization mode.

Basic Concepts
Preferences
▪ Press Button 5 (METRONOME) to enable the Metronome.

▪ Press Button 6 (LINK) to enable Ableton Link.
► To save your settings and return to MASCHINE mode, press SETTINGS.
For more information on using Link refer to: ↑3.9, Syncing MASCHINE using Ableton Link.
3.7.2 Preferences – Audio Page

The Audio page holds settings related to your audio interface.
For information on audio configuration and basic setup scenarios, please refer to the MASCHINE
MK3 Getting Started Guide available from the Native Instruments website.
The Interface section allows you to configure the audio interface for MASCHINE.
The Routings section allows you to configure the connections between the virtual inputs/out-
puts of MASCHINE and the physical inputs/outputs of your audio interface.
► To display the Audio page, click the Audio tab on the left of the Preferences panel.

Basic Concepts
Preferences
Preferences – Audio page.
Setting Description
Interface
Driver Select your audio driver from the drop-down menu.
Device Select the available devices if you have more than one audio
interface connected.

Basic Concepts
Preferences
Setting Description
Status This confirms whether your audio interface is currently running.
Sample Rate This displays the selected sample rate of your audio interface.
Restart MASCHINE after changing the sample rate.
ASIO Config (Windows only) Click Open Panel to access specific controls related to your
audio interface. Please consult the documentation that came
with your audio interface for more information.
Latency macOS: This slider allows you to adjust the latency of your audio
interface in samples. Lower values result in a more immediate
playing response but are heavier on both the CPU and the audio
driver, and may result in audible clicks and pops. Larger values
are easier on the CPU, but introduce a larger latency (i.e., there
may be a small delay in sound playback when you play on the
pads). You should therefore experiment with this setting so that
it is as low as possible without overloading your CPU or
introducing any audio artifacts.
Windows: When using an ASIO driver, the Audio and MIDI
Settings panel displays an ASIO Config button instead of the
Latency slider. Click this button to open the settings window of
the selected ASIO driver.
Routings

Basic Concepts
Preferences
Setting Description
Input Click Inputs to display the Routing Inputs. Here you can select
which inputs on your audio interface should be used for the four
stereo inputs of MASCHINE. Select the inputs of your audio
interface on the right column by clicking the fields: you will be
presented with a drop-down menu with all the available Inputs.
The choices made here will determine which inputs can be used
when sampling external sources, for example.
Output Click Output to display the Routing Outputs. Here you are
presented with a list of the 16 stereo outputs from MASCHINE:
In the right column, you can assign them to the outputs of your
audio interface. Click the fields in the right column to select the
desired outputs via a drop-down menu.
Adjusting Audio Preferences Using the Controller

You can access the Audio preferences directly from the controller. The options found here are
a replica of those found in the software.
To access the Audio preferences using the controller:
2. Press Button 2 (AUDIO) to access the audio settings.
3. Press the Page buttons to access the different pages: Interface (page 1), Input Routings
(page 2), Output Routings 1–4 (page 3), Output Routings 5–8 (page 4), Output Routings
9 –12 (page 5), Output Routings 13 –16 (page 6).
→ The selected page is displayed, and Knobs 1–8 will dynamically change to represent the
parameters.
Page 1: Interface
Interface settings for the selected Audio device are configured on page 1 of the Audio prefer-
ences.
To configure the Interface settings for the selected audio interface:
► Use the page buttons to select page 1: Interface.

Basic Concepts
Preferences
▪ Turn Knob 1 (DRIVER) to select an audio driver.

▪ Turn Knob 2 (DEVICE) to select an alternative audio device.
▪ Turn Knob 3 (SAMPLE RATE) to select a sample rate.
▪ Turn Knob 4 (BUFFER SIZE) to adjust the buffer size.
Page 2: Input Routings
Input routing is configured on page 2 of the Audio preferences.
To configure the Input routing for the selected audio interface:
▪ Use the page buttons to select page 2: Input Routing.
▪ Turn Knobs 1–8 to configure the audio input routing as required.
Page 3–8: Output Routings
Output routing ports are spread across pages 3–8 of the Audio preferences.
To configure the Output routing for each port of the selected Audio Interface:
▪ Use the page buttons to select each Output Routing port.
▪ Turn Knobs 1–8 to configure each audio output port as required.
3.7.3 Preferences – MIDI Page

The MIDI page allows you to set up the MIDI input and output ports that you want to use with
MASCHINE.
► To display the MIDI page, click the MIDI tab on the left of the Preferences panel.

Basic Concepts
Preferences
The Preferences – MIDI page.

Basic Concepts
Preferences
Setting Description
Sync
Mode Click the drop-down menu to set the MIDI Sync mode preference
for MASCHINE:
Off: No MIDI sync mode is selected.
Master (Send Clock): If MASCHINE is running as a stand-alone
application, it can also send a MIDI Clock signal to any device that
is capable of receiving MIDI Clock. This could be hardware such as
a drum machine, another groove box, or even another software
sequencer.
Slave (Receive Clock): If MASCHINE is running as a stand-alone
application, it can be controlled externally via MIDI Clock by any
device that is capable of sending MIDI Clock. This could be
hardware such as a drum machine, another groove box or
sequencer, or even another software sequencer.
Please note that the Slave (Receive Clock) option is not available
when LINK is active. For more information on Link see ↑3.9,
Syncing MASCHINE using Ableton Link.
Clock Offset (appears Click and move the Clock Offset slider to compensate for delay that
when Mode is set to may occur during MIDI data transmission. Delayed MIDI Clock data
Slave) will cause external devices to respond too late, thus making your
track sound out of sync.
By adjusting the Clock Offset value you can set an amount of
latency to be compensated (in milliseconds). MASCHINE will then
send MIDI Clock events ahead of time as defined.
Devices
Inputs Click Input to display a list of all the available MIDI inputs of your
system. You can activate/deactivate each input by clicking the
fields in the Status column, which displays the current status of the
corresponding port.

Basic Concepts
Preferences
Setting Description
Outputs Click Output to display a list of all the available MIDI outputs of
your system. You can activate/deactivate each output by clicking
the fields in the Status column, which displays the current status of
the corresponding port.
Adjusting MIDI Preferences Using the Controller

You can access the MIDI preferences directly from the controller. The options found here are a
replica of those found in the software.
To access the MIDI preferences from your controller:
2. Press Button 3 (MIDI) to access the hardware settings.
▪ Turn Knob 1 (MODE) to adjust the MIDI Sync mode preference.
▪ Turn Knob 2 (CLOCK OFFSET) to adjust the Clock Offset.
▪ Turn Knob 5 (SELECT) to select a MIDI Input Device.
▪ Turn Knob 6 (STATUS) to enable or disable a MIDI Input Device.
▪ Turn Knob 7 (SELECT) to select a MIDI Output Device.
▪ Turn Knob 8 (STATUS) to enable or disable a MIDI Output Device.
If you want MASCHINE to send other MIDI messages than MIDI Clock, in particular if you want to
control other MIDI-capable devices via the notes played in MASCHINE, please refer to section
↑12.2.5, Sending MIDI from Sounds.
3.7.4 Preferences – Default Page

The Default page allows you to define the default settings that will be used for each new
Project.
► To display the Default page, click the Default tab on the left of the Preferences panel.

Basic Concepts
Preferences
The Preferences – Default page.

Basic Concepts
Preferences
Setting Description
Project
Standalone Here you can select a Project to load automatically when you
start a new Project in MASCHINE used as a stand-alone
application. The field displays the location of the Template
Project selected for use. Click the folder icon to select another
Template Project. Any Project file can be used as a template;
this can be from the MASCHINE Library, or you could create a
file, for example with your preferred instruments and effects
already loaded into the Plug-in slots. If you have already set a
Template Project, click the cross icon to unset it and start new
Projects from scratch instead.
Plug-in Here you can select a Project to load automatically when
MASCHINE is used as a plug-in within a Digital Audio
Workstation. The field displays the location of the Template
Project selected for use. Click the folder icon to select another
Template Project. Any Project file can be used as a template;
this can be from the MASCHINE Library, or you can create a
file, for example with your preferred instruments and effects
loaded into the Plug-in slots. If you have already set a Template
Project, click the cross icon to unset it and start new Projects
from scratch instead.
Metronome Settings
Down Beat Sample and Up Here you can select audio files to be used as up and down beat
Beat Sample of the metronome, respectively. The fields display the locations
of the audio files selected for use. Click the fields to select
other files. Click the little crosses on the right of the fields to
remove the custom audio files and use the default metronome
sounds instead.
Scene / Section

Basic Concepts
Preferences
Setting Description
Duplicate Select from the drop-down menu how the Duplicate function in
MASCHINE will operate when duplicating Scenes.
Scene Only
Only the Scene is duplicated. The result is a new unlinked
Scene with the same Patterns referenced.
Scene and Patterns
The Scene itself and additionally all Patterns are duplicated.
The new Scene and Patterns are now completely independent
from the originals.
Link when duplicating Click the checkbox to enable a linked copy of a Section when
Sections using the Duplicate function. By default this feature is disabled.
When enabled, the Duplicate function will create a linked copy
of a Section. A linked copy will automatically be updated when
any instance of a linked Section is edited. This way, you don’t
need to keep track of which Section is the “original.”
Pattern
Length Enter the default length of new Patterns. The length is
measured in bars, beats, and sixteenths. To adjust the value,
click the desired number (bars, beats or sixteenths) and drag
your mouse vertically. For more information on Pattern Length
refer to: ↑11.1.6, Adjusting the Arrange Grid and the Pattern
Length.
Sound Lane Height Select the default height of the Sound lane in the Pattern Editor
by choosing between normal 1x or 2x zoom from the menu. 1x
displays all sixteen sounds, and 2x displays only the first eight
Sounds of a Group, making it easier to edit events.

Basic Concepts
Preferences
Setting Description
Sound
Default MIDI Input Mode MASCHINE allows you to play your Sound(s) via MIDI notes, for
example, from a MIDI keyboard. By default and without any
configuration, incoming MIDI notes on any MIDI port and any
MIDI channel will trigger the pitch of the focused Sound. In
addition, you can select that a Sound receives no MIDI input,
and also define the default setting for MIDI input by selecting
the Default MIDI Input Mode preference.
Select one of the following MIDI input mode options from the
drop-down menu:
Focus: MIDI input from any connected controller can be used to
trigger the focused (selected) Sound slot.
None: The selected Sound will not receive MIDI data.
3.7.5 Preferences – Library Page

The Library page allows you to edit the locations of all MASCHINE library files (both factory
and user) that appear in the LIBRARY pane of the Browser.
The LIBRARY pane of the Browser is described in section ↑4.2, Searching and Loading Files from
the Library.
► To display the Library page click the Library tab on the left of the Preferences panel.
At the top of the page, the Factory and User buttons allow you to switch between the Factory
pane and the User pane.
Factory Pane
► To display the Factory pane, click the Factory button at the top of the Library page.

Basic Concepts
Preferences
The Preferences panel – the Library page’s Factory pane.
The Factory pane displays all factory libraries available. These includes the MASCHINE Factory
Library, libraries imported from other NI products, as well as installed MASCHINE EXPAN-
SIONS.
These libraries will appear in the Factory view of the Browser’s Library pane.

Basic Concepts
Preferences
Element Description
Location column Displays the path of each library. If you have moved any library to
another location on your computer, click the folder icon on the left of
that library and select its new path.
Product column Displays the name of each product. These names cannot be edited.
Rescan button If you have made any change to a library (e.g., changed its location),
select it in the list and click the Rescan button to rescan that library.
User Pane
► To display the User pane, click the User button at the top of the Library page.

Basic Concepts
Preferences
The Preferences panel – the Library page’s User pane.
The User pane displays all user libraries currently in use. This includes the standard MA-
SCHINE user directory as well as any other user directory you might have defined. These libra-
ries will appear in the User view of the Browser’s Library pane.

Basic Concepts
Preferences
Element Description
Location column Displays the path of each library. If you have moved any library to
another location on your computer, click the folder icon on the left of
that library and select its new path.
Alias column Displays the alias stored for each library. Click an alias to edit it.
Defining aliases for your user folders is not mandatory, but it can be
of great help when working on different computers (see description
below). After adding a location (see Add below), click the field in the
new row and in the Alias column to set the alias for that new
location. The alias of the default user folder, Standard User
Directory, cannot be edited — this is the location where all your user
files will be stored by default.
Add button Click Add to manually add directories to the user library. See below
for more details.
Remove button Click Remove to remove the selected user library. Files will only be
removed from the MASCHINE Browser, not from your hard disk.
Rescan button If you have made any change to a library (e.g., added/removed files),
select it in the list and click the Rescan button to rescan that library.
Scan user content for Click this checkbox to allow MASCHINE to scan for changes to the
changes at start-up User content directory during start-up.
checkbox
You can resize the Preferences panel at your convenience using the usual method on your operating
system. You can also resize each column by clicking and dragging the border between both column
headers.
User Content Folder Included in MASCHINE’s User Paths

Products from Native Instruments will store user-generated content in a centralized User Con-
tent folder. In MASCHINE this User Content folder is automatically added to the list of user
directories in the User pane of the Library page in the Preferences panel, and as a conse-
quence its files are available in the MASCHINE Browser.

Basic Concepts
Preferences
The User Content folder can neither be renamed nor removed from the list. You can modify its
path in the Location column.
Standard User Directory Cannot Be Removed

The Standard User Directory can neither be renamed nor removed from the list in the User
pane of the Library page in the Preferences panel. You can modify its path in the Location col-
umn.
Cancelling Library Rescan

In the Library page of the Preferences panel, the Rescan button allows you to rescan the se-
lected library (or all your libraries if none is selected) so that the MASCHINE Browser mirrors
any changes you have made to the files. Clicking this Rescan button triggers the scan and an
Updating Database dialog shows you the progress of the scan.
The Updating Database dialog includes a CANCEL button allowing you to interrupt the scan-
ning process without harming the database permanently:
The Updating Database dialog now includes a Cancel button.

Basic Concepts
Preferences
► Click CANCEL in the Updating Database dialog to interrupt the scan.

A Cancel Rescan dialog opens up asking you to confirm that you want to cancel the scan:
The dialog warns you that cancelling the scan may lead to inconsistencies or missing
items in your MASCHINE Library.
▪ If you still want to cancel the scan, click CANCEL RESCAN at the bottom right, and the
scan will be cancelled.
▪ If you prefer instead not to cancel the scan, click CONTINUE or press [Esc] on your com-
puter keyboard, and the scan will go on.
If you cancelled the scan, any inconsistencies or missing items in your MASCHINE Library will
be resolved by rescanning the same path(s) again (via the Rescan button mentioned above).
In opposition to the rescan process described here, you cannot cancel the import of files into the
MASCHINE Library (via the FILES pane of the Browser or via the Library page of the Preferences
panel) nor the process of applying changes to the file tags and properties (via the Attribute Editor in
the Browser).
Using Aliases
The aliases available in the Alias column act as references to the paths shown in the Location
column. When you save a Project, the saved data includes both the path and the alias for each
file used in the Project. This will allow you to use a Project on different computers even if the
files used in the Project (e.g., Samples) are stored in different locations on each computer:
Simply define the same alias for these locations on each computer, and MASCHINE will re-
place the path saved on the first computer with the path set to the same alias on the second
computer in order to retrieve the files on this second computer, therefore avoiding the possibil-
ity of missing Samples.

Basic Concepts
Preferences
Adding Folders to the User Library

In the User pane of the Library page, you can add other folders to the user content of your MA-
SCHINE Library. To do this:
1. Click Add at the bottom of the pane.
A folder selection dialog opens up.
2. In the dialog, navigate to the desired folder on your computer and click OK (Choose on
macOS).
→ All MASCHINE-compatible files found in the selected folder are added to your user con-
tent in MASCHINE.
Furthermore, the imported files will have their attributes (product/bank/sub-bank, Type/Sub-
Type/Mode tags, as well as properties) set as follows:
▪ For all file types, any attributes already in the files will be retained.
▪ For Samples, if the product/bank/sub-bank attributes are empty, they will be set to the
folders in which the Samples are located:
◦ The product will be set to the name of the folder you have selected.
◦ If Samples reside in a subfolder of this folder, the subfolder name will be used as
bank.
◦ If Samples reside in a subfolder of this subfolder, the name of the lower subfolder will
be used as sub-bank.
By adding a folder to the user content of your MASCHINE Library, you make their files availa-
ble in the Browser’s LIBRARY pane for quick searching and loading! For more information on
how to use the LIBRARY pane of the Browser, please refer to section ↑4.2, Searching and
Loading Files from the Library.
Paths to folders added via the IMPORT button in the Browser’s FILES pane will also show up here.
The only difference between adding folders via the Add button in Preferences panel, described
here, and via the IMPORT button in the FILES pane of the Browser is that the latter allows you to
directly tag the files as they are imported. See section ↑4.6.5, Using the Result List for more infor-
mation on how to import folders via the FILES pane.

Basic Concepts
Preferences
Please note that the selected folder cannot contain, or be contained within, a folder already
listed in the User or Factory pane. If MASCHINE detects such a folder as you press OK
(Choose on macOS) in the folder selection dialog, a Duplicate Location message appears: Click
OK to return to the folder selection dialog and select another folder on your computer.
Removing Folders from the User Library

You can also remove any user folder from your Library — except the default user.
3.7.6 Preferences – Plug-ins Page

The Plug-ins page allows you to manage the Native Instruments and External Plug-ins you want
to use in MASCHINE.
► To display the Plug-ins page, click the Plug-ins tab on the left of the Preferences panel.
At the top of the page, the Manager and Locations buttons allow you to switch between the
Manager pane and the Locations pane.
Manager Pane
► To display the Manager pane, click the Manager button at the top of the Plug-ins page.
In the Manager pane of the Plug-ins page, you can enable/disable VST/AU plug-ins, rescan
their directories, and set default presets for your Native Instruments and External Plug-ins.
When a Native Instruments or External Plug-in is disabled, it will not be available for loading
(from the various Plug-in menus in the software and from the Plug-in Browser on your control-
ler). If, for example, you do not use certain VST plug-ins in MASCHINE, it could be useful to
disable them so that they do not overload the list of available Plug-ins.
For more information on Native Instruments Plug-ins, External Plug-ins, and other Plug-ins in MA-
SCHINE, please refer to chapter ↑7, Working with Plug-ins.

Basic Concepts
Preferences
The Preferences panel – the Plug-ins page’s Manager pane.

Basic Concepts
Preferences
Element Description
Plug-in column Lists all available VST/AU plug-ins from the directories specified in
the Locations pane (see below). This includes all enabled or disabled
32-bit VST/AU plug-ins, when MASCHINE is running in 32-bit mode
or otherwise all enabled or disabled VST/AU 64-bit plug-ins, when
MASCHINE is running in 64-bit mode.
On the left of each plug-in in the list, a checkbox allows you to
enable/disable this plug-in in MASCHINE. When a plug-in is disabled,
it will not be available for loading in MASCHINE.
Default Config column For each plug-in you can set a default preset that will be loaded with
this plug-in when you load it. Click the folder icon on the left to
choose a default plug-in preset. You can also save a preset as default
for the plug-in via the Save As Default… entry in the Plug-in menu. If
no default is set here, the parameters of this plug-in will be auto-
mapped when loading it into a plug-in slot.
To remove a default plug-in preset, click the little cross on the right.
Always Use Latest If a project was saved using older versions of plug-ins, such as older
Version of NI Plug-ins versions of REAKTOR or KONTAKT, the newest installed versions will
checkbox be used when loading the project while this preference is enabled. If
the preference is off, MASCHINE will attempt to load using the
versions originally used when creating the project. Additionally, if only
the newest versions of the required plug-ins are installed on the
system, the newest versions will be used even if this preference is
turned off.
Rescan button If you have changed the content of any directory specified in the
Locations pane (see below), you should rescan your plug-in
directories in order to keep the list of available external plug-ins up to
date. Clicking Rescan will check the integrity of your plug-ins and
allow you to automatically detect plug-ins that were added or
removed, or deselect any plug-ins that are not working correctly for
any reason. Note that the scan will ignore the plug-ins that are
disabled in the list above.

Basic Concepts
Preferences
Manager Pane: Use NI Audio Units Checkbox (macOS Only)

On macOS, the Manager pane contains an additional Use NI Audio Units checkbox. Check this
box to include the Audio Units (AU) versions of your Native Instruments plug-ins in the soft-
ware’s Plug-in menus and in the controller’s Plug-in Browser:
▪ If this checkbox is disabled (default setting), the AU versions of your Native Instruments
plug-ins are still listed in the list above but they are disabled (checkbox unchecked): These
plug-ins won’t appear in the Native Instruments submenu of the Plug-in menus (software)
or in the Plug-in Browser (controller). Additionally, the remaining entries for Native Instru-
ments plug-ins (all of them VST) won’t display the (VST) mention next to their name.
▪ If you enable the Use NI Audio Units checkbox, all Native Instruments’ AU plug-ins are en-
abled in the list above and are available for loading in MASCHINE. In order to distinguish
them from the VST versions, plug-in entries in the Native Instruments submenu of the
Plug-in menus and in the Plug-in Browser will display either (VST) or (AU) after their name.
You can also enable or disable Native Instruments’ AU plug-ins individually in the list via the
checkboxes described above — as soon as you enable one of them, the Use NI Audio Units
checkbox is automatically activated.
The Use NI Audio Units checkbox relates only to AU plug-ins from Native Instruments. AU plug-ins
from third-party manufacturers are not affected by this setting.
When the Use NI Audio Units checkbox is disabled or the AU version of a Native Instruments plug-
in is disabled, you can still load Projects that use AU plug-ins.
Location Pane
► To display the Location pane, click the Location button at the top of the Plug-ins page.
In the Locations section of the Plug-ins page, you can manage the various plug-in directories
you want to use in MASCHINE.

Basic Concepts
Preferences
The Preferences panel – the Plug-ins page’s Locations pane.
The Locations pane also contains the following controls:
Element Description
Plug-in column Lists all plug-in directories used in MASCHINE. Click the folder icon
on the left of an entry to change the path of that plug-in directory.
Add button Click Add to add plug-in directories.

Basic Concepts
Preferences
Element Description
Remove button Click Remove to remove the selected directory.
Rescan button If you have changed the content of a directory (such as installed or
removed plug-ins), you should rescan your plug-in directories in order
to keep the list of available plug-ins up to date. Click Rescan to
check the integrity of your plug-ins, this will allow you to
automatically detect plug-ins that are added or removed, or disable
any plug-ins that are not working correctly for any reason.
3.7.7 Preferences – Hardware Page

The Hardware page enables you to customize how the pads react to your playing and to adjust
the brightness of the displays.
► To display the Hardware page, click the Hardware tab on the left of the Preferences panel.
→ The settings of connected Native Instruments controllers can be selected and adjusted.

Basic Concepts
Preferences
The Preferences panel – Hardware page.

Basic Concepts
Preferences
Setting Description
Controller The Controller menu allows you to select a connected device
and modify its settings. You can have two devices
simultaneously focused on a MASCHINE instance: a controller
from the MASCHINE family and a KOMPLETE KONTROL S-
SERIES keyboard. After a new device has been selected from
the Controller menu, the Hardware page will update to display
the available options.
Pads
Sensitivity Use the Sensitivity slider to adjust how sensitive the pads
respond to your touch. This sets the minimum threshold at
which the MASCHINE controller will register a “hit.”
Velocity Scaling Velocity Scaling determines how your playing is translated into
velocity values: starting from Soft 3 (a soft touch is enough to
get a big velocity value) through Linear to Hard 3 (you really
have to hit the pad hard to get a big velocity value).
LEDs
Brightness The Brightness slider allows you to adjust the brightness of the
pads and buttons on the controller.
Display
Brightness The Brightness slider allows you to adjust the brightness of both
left and right displays of the controller.
Touch-Sensitive Knobs

Basic Concepts
Preferences
Setting Description
Touch Auto-write Use the Touch Auto-write checkbox to enable or disable the
Touch Auto-write option.
Touch Auto-write can be very useful if you want to re-record
modulation for a parameter, at a constant value. With Touch
Auto-write enabled, you only need to keep a finger on a
parameter Knob (1–8): The current modulation value is
recorded as long as you touch the Knob, automatically replacing
any old modulation events at the position in the Pattern. For
more information read: ↑3.3.12, Touch Auto-Write Option.
Audio Outputs
Route Main to Headphones Use this checkbox to route the Line Out L/R to the Phones
output. This allows you to listen to the same audio output
channel via the line output and headphone output
simultaneously, for example, use this if you want to listen to the
MASCHINE software's main out via speakers and listen to the
main out via headphones.
Adjusting Hardware Preferences Using the Controller

You can access the Hardware preferences directly from the controller. The options found here
are a replica of those found in the software.
To access the Hardware preferences:
2. Press Button 4 (HARDWARE) to access the hardware settings.
▪ Turn Knob 1 (SENSITIVITY) to adjust the pad sensitivity.
▪ Turn Knob 2 (SCALING) to adjust the Velocity Scaling.
▪ Turn Knob 3 (BRIGHTNESS) to adjust the LED brightness.
▪ Turn Knob 4 (BRIGHTNESS) to adjust the Display brightness.
▪ Turn Knob 5 (MAIN) to route the Line Out L/R to the Phones output.

Basic Concepts
Preferences
▪ Turn Knob 6 (AUTO-WRITE) to enable or disable the Touch Auto-write option.

3.7.8 Preferences – Colors Page

The Colors page enables you to choose default colors for your Scenes, Groups, and Sounds.
► To display the Colors page click the Colors tab on the left of the Preferences panel.
The Preferences panel – Colors page.

Basic Concepts
Preferences
Setting Description
Scene Default Select the default color for your Scenes. In the menu, you can
select the desired color from the 16-color palette or White
(default setting). The color selected as default is highlighted in
the menu. If you select Auto each Scene will have a different
default color.
Group Default Select the default color for your Groups. In the menu, you can
choose the desired color from the 16-color palette. The color
selected as default is highlighted in the menu. If you select
Auto (default setting) each Group will have a different default
color.
Sound Default Select the default color for your Sounds. In the menu, you can
choose the desired color from the 16-color palette. The color
selected as default is highlighted in the menu. If you select
Auto each Sound will have a different default color. If you select
Use Group Color (default setting) Sounds will by default mirror
the color of the Group to which they belong.
Load with Colors Click the checkbox to save your Color settings with your
MASCHINE files (Projects, Groups, Sounds, etc.). If you
uncheck Load with Colors (checked by default), saved colors will
not be used next time you load the files. The default colors set
in this Colors page will be used instead.
Please note that the settings in this Colors page define default colors: These colors will only be used
when creating a new Project, resetting a Group/Sound, or when Load with Colors is unchecked (see
above). To change the color of particular objects (Sounds, Groups, Patterns, and Scenes) in your
Project, use the Color submenu in the object’s context menu in the software. See ↑5.2.4, Changing
the Sound’s Color, ↑5.3.4, Changing the Group’s Color, ↑11.7.7, Changing the Pattern’s Color, and
↑16.2.13, Changing the Color of a Scene for more information, respectively.
As long as an object (Scene, Sound, Group or Pattern) has the default color, this color is not attach-
ed to the object but instead to its “position” in the respective list: In particular, if you move the
object to another position the default color will not follow the object — the object will instead take
the default color of its new position.

Basic Concepts
Integrating MASCHINE into a MIDI Setup
3.8 Integrating MASCHINE into a MIDI Setup

You can quickly integrate MASCHINE into a MIDI setup.
You can use MIDI in MASCHINE in various ways. Notably:
▪ You can synchronize a MIDI Clock signal between MASCHINE and other MIDI devices:
↑3.8.2, Sync to External MIDI Clock and ↑3.8.3, Send MIDI Clock.
▪ If you connect a MIDI keyboard to the MIDI IN, you can directly play the focused Sound
with it without having to set anything up.
▪ You can let particular Sounds and Groups react to incoming MIDI data and send MIDI data
to the desired port. More on these in section ↑12.2, Using MIDI Control and Host Automa-
tion.
▪ You can also switch Scenes remotely by sending MIDI Note or MIDI Program Change mes-
sages to MASCHINE. More on this in section ↑16.5, Triggering Sections or Scenes via
MIDI.
3.8.1 Connecting External MIDI Equipment
The MIDI sockets on the rear panel of the MASCHINE controller.
To connect your external MIDI equipment:

1. Hook it up to the MASCHINE hardware controller’s MIDI IN or MIDI OUT socket on the
rear panel.

Basic Concepts
2. If MASCHINE is running as a stand-alone application, activate the corresponding MIDI in-

put and/or output(s) of your MASCHINE controller in the MIDI page of the Preferences
panel (see ↑3.7.3, Preferences – MIDI Page).
3. If MASCHINE is running as a plug-in in a host application, the MIDI configuration is man-
aged by the host (see section ↑3.5, Stand-Alone and Plug-in Mode). Please refer to your
host documentation to know how to configure MIDI in your host.
3.8.2 Sync to External MIDI Clock

If MASCHINE is running as a stand-alone application, it can be controlled externally via MIDI
Clock by any device that is capable of sending MIDI Clock. This could be hardware such as a
drum machine, another groovebox or sequencer, or even another software sequencer.
If you use MASCHINE as a plug-in, it is automatically synced to the host application so you don’t
have to activate external MIDI sync! See section ↑3.5, Stand-Alone and Plug-in Mode for more in-
formation on using MASCHINE as a plug-in.
To configure MASCHINE to receive MIDI Clock from an external device:

1. Select Preferences entry from the File menu.
2. Select the MIDI page.
3. In the Sync section select Slave (Receive Clock) from the menu.
4. Select the Input button to see a list of connected devices.
5. Check the name of the device sending MIDI clock (the device you want MASCHINE to
sync with).
→ MASCHINE can now receive MIDI Clock from an external device
You must define at least one MIDI input device in the Devices section of the MIDI page to enable
MASCHINE to sync.
When Slave (Receive Clock) is selected, the Play button in the MASCHINE Header and the
PLAY button on your controller are deactivated.

Basic Concepts
If you want to configure MASCHINE to react to other MIDI messages than MIDI Clock, in particular
if you want to control MASCHINE notes and parameters via MIDI, please refer to section ↑12.2, Us-
ing MIDI Control and Host Automation, where this is described in detail.
3.8.3 Send MIDI Clock

If MASCHINE is running as a stand-alone application, it can also send a MIDI Clock signal to
any device that is capable of receiving MIDI Clock. This could be hardware such as a drum
machine, another groovebox, or even another software sequencer.
If you use MASCHINE as a plug-in, it cannot send any MIDI Clock signal. See section ↑3.5, Stand-
Alone and Plug-in Mode for more information on using MASCHINE as a plug-in.
To configure MASCHINE to receive MIDI Clock from an external device:

1. Select Preferences entry from the File menu.
2. Select the MIDI page.
3. In the Sync section select Master (Send Clock) from the menu.
→ MASCHINE will send a MIDI Clock signal to any connected device that is capable of re-
ceiving MIDI Clock.
You can adjust the MIDI Clock offset in the MIDI page of the Preferences panel. See ↑3.7.3, Prefer-
ences – MIDI Page for more information.
If you want MASCHINE to send other MIDI messages than MIDI Clock, in particular if you want to
control other MIDI-capable devices via the notes played in MASCHINE, please refer to section
↑12.2.5, Sending MIDI from Sounds.

Basic Concepts
Syncing MASCHINE using Ableton Link
3.9 Syncing MASCHINE using Ableton Link

Ableton Link is a protocol that synchronizes beat, phase and tempo of Link-enabled applica-
tions on the same computer or over a shared network. This means you can conveniently keep
applications synchronized across different devices or join a group jam with others with minimal
setup. Connecting applications via Link provides you with the ability to synchronize them to a
shared timeline and change the tempo globally from each of the connected applications.
3.9.1 Connecting to a Network

Applications that support Ableton Link can join a Link session when connected to the same
network. To enable Link within MASCHINE, simply make sure the computer running MA-
SCHINE is connected to the same local network as the other applications you want to link to.
This can either be a local network or an ad-hoc (computer-to-computer) connection.
To ensure maximum security and reliability while using Link, there are several things you may
want to consider:
▪ For reliability, connect to the local network using a router via an Ethernet cable.
▪ If you do use a Wi-Fi network, be sure to use a password to prevent excluded users from
joining your session.
▪ For the most secure and reliable connection, create a Link session via a direct connection
from one computer to another using a Thunderbolt or Ethernet cable.
For more general information on setting up and using Link, please refer to the Link FAQs arti-
cle located on the Ableton website:
https://help.ableton.com/hc/en-us/articles/209776125-Link-FAQs.
3.9.2 Joining and Leaving a Link Session

It is possible to join a Link session at any time by clicking the LINK button. When another
Link-enabled application is connected, a moving bar within the LINK button is displayed even
though MASCHINE’s transport is not running. This bar represents the global phase of Link that
all participating applications lock into.

Basic Concepts
Using a Pedal with the MASCHINE Controller
After clicking the Play button, playback will resume on the downbeat once the moving bar
within the LINK button is filled. The first participant to join the session sets the initial tempo,
from then on any participant in the session can change the tempo in their respective applica-
tion. If multiple participants change the tempo at the same time, the last tempo change will
take effect.
To start or join a Link session, proceed as follows:
1. Click the LINK button located in the header.
2. Start MASCHINE’s playback by clicking the play button.

3. To stop using Link, and leave the session, click LINK again.
While connected, the LINK button displays how many other Link-enabled applications are con-
nected via Link. The example below indicates that there are two other applications connected.
Active Link session with two other instances connected.
When Link is active, it is not possible to synchronize MASCHINE to incoming MIDI Clock as a slave.
Link will take priority. Sending MIDI Clock from MASCHINE as a master is still possible.
3.10 Using a Pedal with the MASCHINE Controller

Your MASCHINE MK3 Controller provides a pedal input in the form of 1/4" socket on its rear
panel.

Basic Concepts
File Management on the MASCHINE Controller
The pedal input on the rear panel of your controller.
The PEDAL socket allows you to use a pedal footswitch to control the transport in MASCHINE.
A single footswitch with two pedals can be used to control the transport in the following way:
▪ Pedal 1: Starts/stop the playback in MASCHINE. This is equivalent to the PLAY button on
your controller and the Play button in the software’s Header.
▪ Pedal 2: Engage/disengage recording in MASCHINE. This is equivalent to the REC button
on your controller and the Record button in the software’s Header.
The PEDAL socket can also be configured to send Continuous MIDI CC messages in the Preferences
of the Controller Editor software. For more information read the MASCHINE MK3 chapter of the
Controller Editor manual.
3.11 File Management on the MASCHINE Controller

The MASCHINE controller provides a dedicated mode that allows you to manage your Project
files. This includes creating new Project files, saving Project files and also saving copies of
files as you work through iterations of your project. In addition, you can also view recent
Projects that have been worked on, and of course load existing Projects.
To access File mode:
► Press the FILE button.
→ The File menu is displayed. All File menu options are explained in the table below.

Basic Concepts
File Management on the MASCHINE Controller
File Management Option Description

NEW Creates a new Project file. If you already have
a project open, you will be prompted to save
or discard it, after which a new Project will be
created.
SAVE AS Allows you to save the current Project with an
alternative name.
SAVE COPY Quickly allows you save a copy of the current
Project with a numerical iteration
automatically added to the file name.
RECENT This option is permanently selected and
displays the most recent projects that were
saved.
LOAD Allows you to load the selected file. Turn the
4-D encoder or Knob 8 to select a Project file
and press the 4-D encoder or Button 8 to load
it.

Browser
Browser Basics
4 Browser
The Browser is the place where you can organize and categorize all of your Projects, Groups,
Sounds, Plug-in presets, and Samples. This is done by tagging them, which means categoriz-
ing them by using keywords. Given that the MASCHINE software has some advantages over the
hardware in this case, such as a very big screen and a QWERTY-keyboard, we will start with the
software first.
4.1 Browser Basics

This section describes some general concepts about the Browser.
4.1.1 The MASCHINE Library

To organize, find, keep track of, and provide you thousands of files at any time ready for load-
ing, MASCHINE makes use of a Library. The MASCHINE Library not only contains the factory
content included with MASCHINE, but also any other factory content (e.g., from MASCHINE
EXPANSIONS or other Native Instruments products) as well as your own user content.
To help you find the right file quickly and efficiently, the Library implements various techni-
ques that go far beyond the classic folder structure of your operating system. For example,
each file included in the Library can be described according to following aspects:
▪ The file type: Project, Group, Sound, etc.
▪ The content type of the file, i.e. whether it originates from a product’s factory library or if it
was created by a user.
▪ The product which the files comes from — this can include, e.g., a hierarchical structure
with a product category, a particular product, and possibly a bank and sub-bank of this
product.
▪ A variable amount of tags used to describe various characteristics of the file, for example,
the type of effect, the sonic character, the context in which it is used — in a word, any-
thing that might help you find the file.

Browser
Browser Basics
Note that the Library is the only other way to display and access your files: You could also navigate
to the same files in your file system. The (substantial) difference lies in the fact that the Library
organizes your files in a musically relevant way.
Which Files are Included in the MASCHINE Library?

The files included in the MASCHINE Library are all MASCHINE-relevant files found in the fold-
ers whose paths are listed in the Library page of the Preferences panel. For more information
on how to manage these library folders, please refer to ↑3.7.4, Preferences – Default Page.
4.1.2 Browsing the Library vs. Browsing Your Hard Disks

The Browser is your interface to the MASCHINE Library. It provides all necessary tools to
search for the files you require — and suggest other files you might not have thought of. Be-
side this, the Browser also allows you to navigate your file system in a classic way. Both are
described in the next section.
The Browser provides two operation modes, each of them providing its own tools:
▪ The LIBRARY pane allows you to browse the MASCHINE Library. This is the preferred way
to search for files meeting particular musical requirements. This pane also allows you to
tag your own files to your liking.
▪ The FILES pane allows you to browse your hard disks by using the hierarchical folder struc-
ture of your operating system. For example you can use it to navigate files that have not
been imported into the MASCHINE Library — and you can import them from there!
In contrast to the software, the Browser on your controller can only load files that have already been
added to the Library. You cannot directly access specific directories on your hard disks with the
Browser using the controller. This is why you should always import all your files to the Library and
tag them using the software beforehand.
Switching Between LIBRARY and FILES Pane

► To show the LIBRARY pane or the FILES pane of the Browser, click the corresponding tab
at the top of the Browser.

Browser
Searching and Loading Files from the Library
Click the desired tab to show the corresponding pane of the Browser.
The LIBRARY pane is described in section ↑4.2, Searching and Loading Files from the Library,
and the FILES tab is described in section ↑4.6, Loading and Importing Files from Your File
System.
4.2 Searching and Loading Files from the Library

The Browser’s LIBRARY pane allows you to search for any file in the MASCHINE Library.
► To display the LIBRARY pane, click the LIBRARY tab in the top left corner of the Brows-
er.
4.2.1 Overview of the LIBRARY Pane

The LIBRARY pane contains following elements:

Browser
1 2 3
9
The elements of the LIBRARY pane.
(1) LIBRARY tab: Click the LIBRARY tab to open the LIBRARY pane described here.
(2) File Type selector: This contains six icons, each representing the different files types of MA-
SCHINE. From the left to right the file types are Project, Group, Sound, Instrument preset, Ef-
fect preset, and Sample. By clicking one of them it causes only the files of the selected type to
be displayed in the Result list (8). See section ↑4.2.4, Selecting a File Type.

Browser
(3) Content selector: Click the NI icon (on the left) to select factory content or the User icon (on
the right) to select user content instead. Only the files of the content selected here will be dis-
played in the Result list (8). See section ↑4.2.5, Choosing Between Factory and User Content.
(4) Product selector: Click to open a drop-down menu where you can select a particular prod-
uct, product category, and sometimes the bank and sub-bank of the selected product. Again,
only the files matching your selection will be displayed in the Result list (8). See section
↑4.2.3, Selecting a Product Category, a Product, a Bank, and a Sub-Bank.
(5) TYPES filter: allows you to search for files based on Type and Sub-Type tags that have been
applied to them. See section ↑4.2.6, Selecting Type and Mode Tags.
(6) MODES filter (Instrument/Effect presets only): allows you to search for files based on Mode
tags that have been applied to them. See section ↑4.2.6, Selecting Type and Mode Tags.
(7) Search field: Enter any character string into the Search field to limit the search results to
the files containing this string. See section ↑4.2.8, Performing a Text Search.
(8) Result list: The Result list displays all files that match your query, as specified via the vari-
ous tools above. See section ↑4.2.9, Loading a File from the Result List.
(9) Control bar: At the bottom of the Browser, the Control bar provides a few useful tools when
browsing the MASCHINE Library, some of them depending on your selection in the File Type
selector (2):
▪ For all file types except Project, click the Autoload button at the far left of the Control bar to
automatically load the selected file in order to hear it in context with the rest of your
Project while it is playing. See section ↑4.3.1, Loading the Selected Files Automatically.
▪ For Instruments Presets and Samples, enable the Prehear button and adjust the volume fad-
er next to it in order to pre-listen to the selected items directly from the Browser in order to
make a quick selection. See section ↑4.3.3, Auditioning Samples and ↑4.3.2, Auditioning
Instrument Presets.
▪ For Groups, enable the Load Patterns checkbox to load the Group’s Patterns together with
the Group. See section ↑4.3.4, Loading Groups with Patterns.
▪ For all files, click the Information button (showing a little “i”) near the EDIT button to dis-
play more information on the selected file(s). See section ↑4.3.6, Displaying File Informa-
tion.

Browser
▪ For all files, click the EDIT button at the far right of the bar to open the Attribute Editor and
modify the tags and properties assigned to the selected file(s). See section ↑4.5, Editing
the Files’ Tags and Properties.
Overview of the Search Workflow in the LIBRARY Pane

When searching for files via the LIBRARY pane, you can progressively refine your search by fol-
lowing this typical top-to-bottom workflow.
The first two steps are mandatory:
1. Choose a file type in the File Type selector (2).
2. Select between factory content and user content in the Content selector (3).
The next steps are optional. They can be useful to further refine your search and limit the
number of search results to a reasonable amount:
1. Choose a product category or a product in the Product selector (4). If you have selected a
product you can further choose a particular bank and sub-bank of this product, if any.
2. Select tags in the TYPES filter (5) — and the MODES filter (6) for Instrument and Effect
presets — describing what you are looking for.
At any time in the procedure described above, you can use the Search field (7) to quickly per-
form a text search among the entries in the Result list (8).
The above steps are described in detail in the following sections.
4.2.1.1 Browsing the Library on the MASCHINE MK3 Controller

► Press BROWSER to enter or leave the Browser.

Browser
The Browser on your controller.
On the displays of your controller, the Browser is organized as follows:

▪ The left display allows you to narrow your search by selecting the file type, the content type
(factory or user files), as well as a product category, a product, a bank, and a sub-bank.
▪ The right display allows to further refine your search by selecting the desired Type (and
possibly Mode) tags. It also shows you the corresponding result list. Turn the 4-D encoder
or Knob 8 to select any entry from the list, and press the 4-D encoder or Button 8 (LOAD)
to load it.
The above steps are described in detail in the following sections. In addition, on your controller
you will find most of the browsing aids available in the software, as described in section ↑4.3,
Additional Browsing Tools.
Make sure you tag all the files extensively that you want to use often, as this makes them much
easier to access using the controller.
Browsing Your Library Using the 4-D Encoder

As usual on your controller, each parameter visible at the bottom of either display can be ad-
justed by the Knob directly underneath. This is also true in Browse mode, as you will see in the
next sections.
However the Browse mode additionally provides an alternate, unified method for adjusting any
field appearing at the bottom of the displays: using the 4-D encoder.

Browser
1. Move the 4-D encoder left/right to select the field you want to select.
The selected field is indicated by thin brackets:
2. Turn the 4-D encoder to change the value in the selected field.
3. Move the 4-D encoder up/down to scroll the Results list.
4. Press the 4-D encoder to make a selection from the Results list.
4.2.2 Selecting or Loading a Product and Selecting a Bank from the Browser
The Product selector allows you to limit your search to a certain product category, a particular
product, or a specific bank of the product. You can also load a product along with its default
preset file directly from the Product selector (see below).
By default there is no particular selection in the Product selector; it reads All Instruments:
The closed Product selector header.

Browser
Selecting a Product Category

► Click on the Product selector header to open it.
→ The Product selector opens up, showing you all products available in your MASCHINE Li-
brary.
1
2
The opened Product selector.
(1) Product selector header: The header shows the selected product—if there is no selection it
shows a generic label (All Instruments). Click on the header to close the Product selector.
(2) Category/Vendor selector: Allows you to sort the Product list by Category or by Vendor.
(3) Product list: Shows all products that are available in your MASCHINE Library.
If Category is selected in the Category/Vendor selector, the Product list is sorted by the follow-
ing categories:
▪ Drums & Percussion
▪ Sampled Instruments
▪ Synthesizers
▪ Other

Browser
If Vendor is selected in the Category / Vendor selector, the Product list is sorted by the names
of the manufacturers.
► To select a product and show only the preset files associated with it, click on the product
in the list.
→ Upon your selection, the Product selector automatically closes, the product name and
icon appear in the header, and the tag filter and results list below will be filtered accord-
ingly.
Products are shown in the Product selector only if the Library contains files for them. If a particular
product does not show up, make sure that you have installed the latest updates using Service Cen-
ter.
Resetting the Product Selection

► To reset the selection made in the Product selector, click the little cross at the right of
the product name:
→ The product selection is cancelled. The Product selector displays the generic label All In-
struments. The tag filter and the results list under the Product selector now include files
for all products.
Selecting a Bank
When you select specific products in the Product list (see description above), an additional
Bank menu appears under the closed Product selector:

Browser
The Bank menu showing All Banks for POLYPLEX
The Bank menu allows you to select a particular bank of files for the selected product (POLY-
PLEX in the picture above).
Banks can be additional Libraries (for example MASSIVE Expansions), different versions of the
original Factory Library (for example FM7 Legacy and FM8 Factory Library), or any other con-
tent categorization specific to a particular product (for example different sets of drum sounds
for POLYPLEX, as shown above).
► To select a particular bank for the selected product, click the Bank menu under the prod-
uct icon and choose a bank from the available entries.
→ Upon your selection the Bank menu closes and displays the selected bank. The tag filter
and results list underneath further narrow their content accordingly.

Browser
► As with the product selection, you can remove the selected bank by clicking the little
cross next to the bank name in the closed menu.
Loading a Product from the Product Selector

If you wish to not only filter the results list by selecting a product, but also load the product
along with its default preset file, you can do so directly from the Product selector.
► To load a product with its default preset file, place the mouse over the product entry in
the Product selector and click on the arrow symbol that appears in the upper right corner
of the product entry.
→ The product and the first preset from the results list for this product are loaded, and the
result list only displays preset files only associated with this product.
4.2.2.1 Browsing by Product Category Using MASCHINE MK3

The MASCHINE Browser can filter your search by product category.
To filter products by Category in the Browser using the controller:
1. Press BROWSER to show the Browser.
2. Press Button 2 to select a product.
3. Press and hold SHIFT to access the filters for CATEGORIES / VENDORS.
4. Press Button 1 to select CATEGORIES if you want to browse by product Category.
5. Turn Knob 1 to select a category from the All Categories list.
6. Turn Knob 2 to filter your selection further by choosing a particular product.
7. Turn the 4-D encoder or Knob 8 to select a preset.
8. Press the 4-D encoder or Button 8 to load the selected preset.

Browser
4.2.2.2 Browsing by Product Vendor Using MASCHINE MK3

The MASCHINE Browser can filter your search by product category.
To filter products by Category in the Browser using the controller:
1. Press BROWSER to show the Browser.
2. Press Button 2 to select a product.
3. Press and hold SHIFT to access the filters for CATEGORIES / VENDORS.
4. Press Button 1 to select VENDOR if you want to browse by product Category.
5. Turn Knob 1 to select a category from the All Categories list.
6. Turn Knob 2 to filter your selection further by choosing a particular product.
7. Turn the 4-D encoder or Knob 8 to select a preset.
8. Press the 4-D encoder or Button 8 to load the selected preset.
4.2.3 Selecting a Product Category, a Product, a Bank, and a Sub-Bank

The Product selector allows you to limit your search to a certain product category, a particular
product, a specific bank of the product, or even a sub-bank in this bank.
By default there is no particular selection in the Product selector: It reads All Projects, All
Groups, All Sounds, All Instruments, All Effects or All Samples according to the type of file
selected in the File Type selector above (see section ↑4.2.4, Selecting a File Type):
The closed Product selector without any Instrument selected.
Selecting a Product or a Product Category

► Click the Product selector to open it.
→ The Product selector opens up and displays the following:

Browser
1
2
The opened Product selector (for Instrument presets).
(1) Product selector header: The header shows the product or the selected product category —
if there is no selection it shows a generic label (All Instruments in the picture above) corre-
sponding to the type of file selected in the File Type selector above. Click the header to close
the Product selector.
(2) Product Category filter: Shows the categories of the products that have files available in the
MASCHINE Library. Click a category of a product to select/deselect it. Selecting a category
limits the number of products shown in the Product list below (3). Only one category can be

Browser
selected at a time. You can also select a category and close the Product selector by clicking its
header (1) again: The header (1) will display the category that you have just selected, and the
TYPES filter (and MODES filter, if present) along with the Result list will be filtered by that
category.
(3) Product list: Shows the products for which files are available in the MASCHINE Library.
Click the desired product in the list. Upon your selection the Product selector automatically
closes, the product name and icon appear in the header, and the tag filter and Result list be-
low will be filtered accordingly.
The closed Product selector with an Instrument selected.
Product categories and products are shown in the Product selector only if the MASCHINE Library
contains files for them. For example, if a Native Instruments effect from the KOMPLETE family is
installed on your computer but you haven’t saved any user presets for it in MASCHINE yet, its prod-
uct icon will not be available in the Product selector when the user content is selected in the Con-
tent selector. Similarly, if you haven’t updated a particular Native Instruments effect/instrument,
the icon for that product might not be available in the Product selector when the factory content is
selected in the Content selector — to prevent this, make sure that all your Native Instruments prod-
ucts are up to date.
Resetting the Product Selection

► To reset the selection made in the Product selector, click the little cross at the right of
the product name:
→ The product selection is cancelled. The Product selector displays the generic label corre-
sponding to the selected file type (Project, Group, Sound, Instrument preset, Effect preset
or Sample). The tag filter and the Result list under the Product selector now include files
for all products.

Browser
Selecting a Bank and a Sub-Bank

When you select specific products in the Product list (see description above), an additional
Bank menu appears under the closed Product selector:
The Bank menu showing All Banks for REAKTOR Effects.
This Bank menu allows you to select a particular bank of files for the selected product (MA-
SCHINE in the picture above).
► To select a particular bank for the selected product, click the Bank menu under the prod-
uct icon and choose a bank from the available entries.
→ Upon your selection the Bank menu closes and displays the selected bank. The tag filter
and Result list underneath further narrow their content accordingly.
Banks can be, e.g., additional libraries (e.g., MASSIVE EXPANSIONS), different versions of the
original Factory Library (e.g., FM7 Legacy and FM8 Factory Library), or any other content categori-
zation specific to a particular product.
Similarly, some banks are split into several sub-banks. In that case a Sub-Bank menu appears
under the Bank menu and allows you to select a particular sub-bank. For example, in the pic-
ture below the Grain Delay sub-bank of the Maschine 2.0 Library bank is selected for the MA-
SCHINE Effect presets:

Browser
The Grain Delay sub-bank in the Maschine 2.0 Library bank.
As with the product above, you can remove the selected bank and sub-bank by clicking the lit-
tle cross at the right of the bank or sub-bank name in the closed menu.
Products and Banks for User Content

When you save your own MASCHINE files, they are automatically assigned to products, banks,
and sub-banks as follows:
▪ When you save Projects, Groups or Sounds, they are automatically set to the Maschine
product.
▪ When you save Instrument or Effect presets:
◦ Presets for Internal Plug-ins: The product is set to Maschine, while the bank is set to
the particular Internal Plug-in for which the preset has been saved (e.g., Sampler,
Kick, Flanger, etc.).
◦ Presets for Native Instruments Plug-ins: The product is set to the particular Native In-
struments effect or instrument. The bank and sub-bank will vary with each Native In-
struments product.
◦ Presets for External Plug-ins: The product is set to the manufacturer of the VST/AU
plug-in, and the bank is set to the particular VST/AU plug-in for which the preset has
been saved. The sub-bank is left empty. In addition, the preset is assigned to the Ex-
ternal Plug-ins product category.
4.2.3.1 Selecting a Product Category, a Product, a Bank, and a Sub-Bank on the

Controller
On your controller in Browse mode:

Browser
1. Turn Knob 1–4 under the left display to select a product category (if any), a particular
product, a bank of that product (if any), and a sub-bank in that bank (if any), respectively.
Turn a Knob at full left to remove any particular selection at this level (i.e. to select all
items at this level).
2. Alternatively, move the 4-D encoder left or right to select a field and then turn it to adjust
the value.
Selecting a product category, a product, a bank, and a sub-bank on your controller.
Additionally the left display shows you the name and icon of all products corresponding to the
selected product category (Knob 1). The selected product (Knob 2) is highlighted.
If there are more than six products available, a scroll bar appears on the right of the left dis-
play. The display automatically scrolls to show the selected product. You can also use the Page
buttons to just see the other products available:
1. Press the Page buttons to scroll the products in the left display without changing the se-
lection.
2. Alternatively, move the 4-D encoder up or down to scroll through the products in the left
display without changing the selection.
4.2.4 Selecting a File Type

The File Type selector shows six icons representing the different file types of MASCHINE:

Browser
1 3 5
2 4 6
The File Type selector.
(1) Project: (.mxprj)

(2) Groups: (.mxgrp)
(3) Sounds: (.mxsnd)
(4) Instrument Plug-in presets: (.mxinst)
(5) Effect Plug-in presets: (.mxfx)
(6) Samples: (.wav, .aiff)
► Click the desired icon in the File Type selector to display only the files of that type in the
Result list.
→ The selected icon is highlighted and the files are filtered accordingly.
Selecting a File Type on the Hardware

On your controller in Browser mode:
At the top left of the left display, press Button 1 or 2 to select the desired file type:
PROJECTS, GROUPS, SOUNDS, INSTRUMENTS, EFFECTS, or SAMPLES.
4.2.5 Choosing Between Factory and User Content

The Content selector shows two icons representing the factory content on the left, and the user
content on the right:

Browser
The Content selector.
► Click the NI icon to search the factory content, or click the User icon to search the user
content.
Choosing the Factory or User Content using the Controller

► At the top right of the left display, press Button 4 (USER) to browse the user content
(button lit and USER label highlighted) or the factory content (button off and USER label
not highlighted).
Choosing the Factory or User Content using the Controller

► At the top right of the left display, press Button 4 (USER) to browse the user content
(button lit and USER label highlighted) or the factory content (button off and USER label
not highlighted).
4.2.6 Selecting Type and Mode Tags

The tag filter that appears under the Product selector allows you to search for files according to
particular characteristics, effect type, sonic character, etc.

Browser
TYPES and MODES filters for the Massive Threat bank of the MASSIVE Plug-in.
► Click the desired tags in the tag filter to select them and limit the search to the files
marked with them. Click the selected tags again to deselect them and broaden the
search.
Tags for Projects, Groups, Sounds, and Samples: 3 Type Levels

For Projects, Groups, Sounds, and Samples, tags are structured into three hierarchical levels
globally called Types. You can select them via the TYPES filter:
▪ At first the TYPES filter displays the available top-level tags only.
▪ As soon as you select a tag at the top level, the second level appears underneath with sub-
tags of the selected tag.
▪ The hierarchical structure means that the sets of sub-tags are specific to each tag of the
level above.
Example: Imagine that you are looking for a shaker Sample from the MASCHINE factory library:

Browser
▪ You have already selected the Maschine product in the Product selector, and the Maschine
2.0 Library bank of this product (for more information on this, see section ↑4.2.3, Select-
ing a Product Category, a Product, a Bank, and a Sub-Bank). For now the TYPES filter
shows only top-level tags:
▪ In order to find a shaker, you first select the Drums Type from the TYPES filter.
Upon your selection the second level of tags appears underneath:
In this second level, you select the Shaker Sub-Type.

Now the third level appears with Sub-Types like Acoustic, Analog, etc.
By selecting any of these tags, say, Acoustic, you will narrow your search to this particular
Sub-Type of shakers:

Browser
▪ Now imagine that you have loaded an acoustic shaker Sample and want to find a Sample
for another drum instrument, e.g., a tom: You leave the Drums tag selected at the top level
of the TYPES filter and directly go to the second level, where you select Tom instead of
Shaker. As you select Tom, the whole set of Sub-Types underneath (third level) will be re-
placed with the Sub-Types of the Tom tag. However, insofar as possible your previous se-
lection will be retained: In our example, both the Shaker and Tom tags have an Acoustic
tag below them; since you had selected the Acoustic tag below the Shaker tag, the Acous-
tic tag below the Tom tag will be automatically selected as well.
This allows you to quickly find various Samples (even for different instruments) with similar
characteristics — here, an acoustic sound.
Tags for Instrument and Effect Presets: 2 Type Levels and 1 Mode Level
For Instrument and Effect presets, tags can be of two kinds: Type or Mode. You can select
them via the TYPES and MODES filter, respectively:
▪ The TYPES filter works as described above for all other file types, except that only two hier-
archical levels are available. See above for a detailed description.
▪ The MODES filter provides an additional level that is independent from the Type levels:
◦ In general, Mode tags will rather refer to technical terms (e.g., Arpeggiated, Percus-
sive, Synthetic, etc.).
◦ The MODES filter is always displayed. You can start your search with the MODES filter
before (or even without) using the TYPES filter.
◦ However, the list of tags available in the MODES filter will vary depending on the tags
selected in the TYPES filter. If no file contains both the Type and Mode tags that you
have selected, the Type tags will prevail and the Mode tags will be deselected.

Browser
If you don’t select any tag in the TYPES or the MODES filter, the Result list will include all files
satisfying any of their tags.
Selecting Multiple Tags from the Same Level

In both TYPES and MODES filter you can select multiple tags from the same level:
1. Hold [Shift] on your computer keyboard and click two tags at a particular level to select
these tags and all tags in-between.
2. Hold [Ctrl] ([Cmd] on macOS) on your computer keyboard and click any number of tags at
a particular level to select these particular tags.
→ The Result list will include all files satisfying at least one of the selected tags.
Opening and Collapsing the Attributes Sections

The Attributes sections (TYPES and MODES) in the Browser Library can be collapsed to make
more room for the results list on smaller display resolutions.
To collapse the Attributes sections:
► Click the small triangle located to the left of the Attributes (TYPES or MODES).
→ The Attribute sections will collapse results will be shown depending on the amount of
space available. Click the triangle again to reopen the sections.

Browser
Highlighted triangle next to the Attributes (TYPES and MODES).
4.2.6.1 Selecting Type and Mode Tags on the MASCHINE MK3 Controller
► Turn Knob 5–7 under the right display to select tags at the three levels of the tag filter.
Turn a Knob at full left to remove any particular selection at this level (i.e. to select all
items at this level).

Browser
Selecting Type and Mode tags on your controller (here for Instrument presets).
▪ When browsing Projects, Groups, Sounds or Samples, Knob 5–7 allow you to select Type
tags in the three hierarchical levels.
▪ When browsing Instrument or Effect presets (as in the picture above), Knob 5 and 6 allow
you to select a Type and a Sub-Type, respectively; Knob 7 allows you to select a Mode.
4.2.7 List and Tag Overlays in the Browser

When browsing your Library from the controller, the touch-sensitive Knobs 1–8 provide you
with handy browsing aids.
For general information on how to use the Browse mode of your controller to browse the MASCHINE
Library, please refer to section 3.2 “Searching and Loading Files from the Library” in the MA-
SCHINE Manual.
List Overlays for Product Category, Bank, and Sub-Bank

As you select a product category, bank or sub-bank via Knobs 1, 3, and 4 under the left dis-
play, respectively), the corresponding list overlay appears above. These overlays are similar to
those for selectors described in section ↑3.3.5, List Overlay for Selectors. In each list, the se-
lected item is highlighted.

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The left display, here when browsing Effects: Selecting the Creative Effects category via Knob 1 (on the left), the 2.0 Library
bank via Knob 3 (in the middle), and all sub-banks via Knob 4 (on the right).
Like in the software, each of these lists includes an All… entry at the top allowing you to deselect
any selected item. Turn the corresponding Knob at full left to select this entry.
Tag Overlays for Type, Sub-Type, and Mode

As you select a Type, Sub-Type(s), and/or Mode via Knobs 5–7 under the right display, a tag
cloud appears above. This tag cloud mirrors that of the Browser in the software. It shows all
tags for which items have been found in the Library. In this cloud, the selected tag is high-
lighted.
Like in the software, the Type and Sub-Type tags share the same tag cloud, while the Mode tag
has its own cloud.
A little down-pointing arrow under the cloud indicates which tag cloud is currently displayed.
The right display, here when browsing Instruments: Selecting the Bass Type via Knob 5 (left picture) and the Digital Bass
Sub-Type via Knob 6 (on the right).

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4.2.8 Performing a Text Search

In the Search field you can enter your search query.
The Search field.
► Click in the Search field and type the desired text to limit the results to files containing
this text.
The search will be performed on the file paths, the file names, the products/banks/sub-banks,
the tags, and the properties directly as you type. If you want to search for a combination of two
words (e.g. “bass” and “analog”) just enter both words in the Search field with a space in be-
tween. As you start typing, the list of matches will start narrowing in the Result list below.
On the right of the Search field, click the Reset button (showing a little cross) to reset both text
search and tag search. The Product selection is not affected.
4.2.9 Loading a File from the Result List

The Result list shows all the files that match your query:

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The Result list showing kicks from the MASCHINE Library.
If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the
right to show the remaining items.
The Result list allows you to:
▪ Select the desired file(s).
▪ Load the selected file(s) into your Project (or load another Project).
▪ Delete the selected file(s) from your hard disk and from the Library.
▪ Navigate to the selected file(s) in your operating system.
▪ See, and possibly edit, the attributes of the selected file(s) by clicking the EDIT button at
the bottom right of the Browser. For more information on this, please refer to section ↑4.5,
Editing the Files’ Tags and Properties.
Selecting Files in the Result List

► To select a single file in the Result list, click its entry.
You can also select multiple files in the Result list in order to process them all at once.

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To select adjacent files in the list, do the following:

► Hold [Shift] on your computer keyboard and click two files in the Result list to select
these files and all files in-between.
To select distant files in the list, do the following:
► Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select.
Loading Files via Double-Click

Double-clicking one of the matches will load the respective file. Depending on what file type
you have selected, the file will be loaded to different locations within MASCHINE:
▪ If it is a Project it will load all associated files replacing all files currently in memory. If
your current Project contains unsaved changes a dialog will appear asking you if you want
to save them. This is to prevent you from losing changes by accidentally loading a new
Project without saving the old one.
▪ If it is a Group, it will be loaded into the Group currently in focus.
▪ If it is a Sound, it will be loaded into the Sound slot currently in focus.
▪ If it is an Instrument preset, it will be loaded into the first Plug-in slot of the Sound slot
currently in focus.
▪ If it is an Effect preset, it will be loaded into the selected Plug-in slot.
▪ If it is a Sample, it will be loaded into the Sound slot currently in focus. The Sampler Plug-
in will be automatically loaded in the first Plug-in slot in order to play the Sample. The
Sample will spread over the entire velocity and note range.
The file loaded will replace the object previously at that position or in this slot, if any! If needed,
you can undo/redo your action via the shortcuts [Ctrl] + [Z]/[Y] (Windows) or [Cmd] + [Z]/[Y] (ma-
cOS).
Loading Files via Drag and Drop

Except for Projects, you can also load files from the Result list into the desired location via
drag and drop. This notably has the following benefits:
▪ You can load the file into a Group or a Sound slot that is not currently focused, or into a
Plug-in slot that is not selected.

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▪ You can load a Sample into its own Zone in the Zone page of the Sample Editor: A new
Zone will be created for that Sample. See section ↑17.5.7, Adding Samples to the Sample
Map for more information.
Drag and drop of Groups and Sounds is possible only in Arrange view.
Loading Multiple Files at Once via Drag and Drop

Once you have selected multiple files from the Result list (see description above), you can drag
and drop them to the relevant locations in MASCHINE. By doing this, please keep in mind the
following:
▪ When dragging several Groups onto the Group List, you have following options:
◦ If you drop the Groups between two existing Groups (where the insertion line appears),
the dropped Groups will be inserted between these two Groups.
◦ If you drop the Groups onto an existing Group, the dropped Groups will replace that
Group and the following ones.
◦ If you drop the Groups onto the “+” at the end of the Group List, the Groups will be
appended to the existing Groups in the Group List.
▪ When dragging several Sounds, you have following options:
◦ If you drop the Sounds onto an existing Group, the Sounds will be loaded in the empty
Sound slots of that Group — if there are not enough empty Sound slots, the Sounds
will be loaded in the first Sound slots of the Group, replacing the Sounds previously
loaded in these slots.
◦ If you drop the Sounds onto the “+” at the end of the Group List, the Sounds will be
loaded in a new Group appended to the existing Groups.
◦ If you drop the Sounds onto the Sound List, the Sounds will be loaded in adjacent
Sound slots, starting from the slot onto which you dropped them.
▪ When dragging several Instrument presets, you have the same options as when dragging sev-
eral Sounds (see above). Each Instrument preset will be loaded into in its own Sound, and
the Sound will take the name of the preset.
▪ When dragging several Effect presets, you have following options:

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◦ If you drop the Effect presets onto a Group in the Group List or onto a Sound in the
Sound List, they will be appended to the existing Plug-ins in the Plug-in List of that
Group or Sound.
◦ If you drop the Effect presets between two existing Plug-ins in the Plug-in List of any
channel, they will be inserted between these two Plug-ins.
◦ If you drop the Effect presets onto an existing Plug-in in the Plug-in List of any chan-
nel, they will replace that Plug-in and the following ones.
▪ When dragging several Samples, you have following options:
◦ If you drop the Samples onto an existing Group, onto the “+” at the end of the Group
List, or onto the Sound List, you have the same options as when dragging several
Sounds (see above). Each Sample will be loaded in its own Sound with a Sampler
Plug-in in the first Plug-in slot in order to play the Sample. The Sample will spread
over the entire velocity and note range.
◦ You can also drop the Samples onto the Zone page of the Sample Editor. In that case
all Samples will be loaded in the focused Sound and a Zone will be created for each
Sample. For more details, see section ↑17.5.7, Adding Samples to the Sample Map.
You cannot load multiple Projects at once.
Drag and drop of Groups and Sounds is possible only in Arrange view.
Deleting Files in the Result List

You can delete user files directly from the Result list:
1. Right-click ([Ctrl]-click on macOS) the desired user file and select Delete from the context
menu. If you want to delete several files at once, first select them as described above,
and right-click ([Ctrl]-click on macOS) ([Ctrl]-click on macOS) any of them.
A warning dialog opens to inform you that the file will be not only removed from the MA-
SCHINE Library but also deleted from your hard disk.
2. Click OK to confirm the deletion (or Cancel to keep the file).

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Additional Browsing Tools
→ The file is deleted from the MASCHINE Library and from your hard disk.
When browsing factory content, the Delete entry is not available in the context menu.
Navigating to the Files in Your Operating System

If you want to find out the location of a particular file shown in the Result list, do the follow-
ing:
► Right-click ([Ctrl]-click on macOS) any file shown in the Result list and select Find in Ex-
plorer (Find in Finder on macOS) from the context menu to open an Explorer/Finder win-
dow pointing to the folder containing that file on your operating system.
4.3 Additional Browsing Tools

At the bottom of the Browser, the Control bar provides various useful tools that will help you
quickly find and check the files you need.
The Control bar at the bottom of the Browser.
Some of the tools are available only for specific file types. The next sections describe each of
these tools.
The EDIT button (LIBRARY pane) or IMPORT button (FILES pane) at the far right of the Control bar
allows you to edit the attributes of the files selected in the Result list above (in the FILES pane,
these are the files being imported to the Library, whereas in the LIBRARY pane these are files al-
ready in the Library). Please refer to section ↑4.5, Editing the Files’ Tags and Properties for more
information!
4.3.1 Loading the Selected Files Automatically

► Click the Autoload button to enable/disable Autoload.

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The Autoload button.
When Autoload is enabled, any item that you select in the Result list of the LIBRARY pane or
FILES pane is automatically loaded into the focused Group or Sound slot or into the selected
Plug-in slot, replacing any content currently in that location. This allows you to listen to this
item in context with the rest of your Project while it is playing.
Autoload is not available when browsing Projects.
Autoload is not available when browsing Samples with Prehear enabled — see section ↑4.3.3, Audi-
tioning Samples.
Autoload is not only useful to look for an appropriate Sound, Group, Plug-in preset or Sample, but
can also be very inspiring: With a Pattern playing, browse through your Library with Autoload acti-
vated and listen to Sounds and Samples you normally would not use in that context.
Autoload using the Controller

► Press Buttons 5 (PREV) and 6 (NEXT) above the right display to directly load the next or
the previous file from the result list.
Autoload is not available when browsing Projects.
Autoload is not available when browsing Samples with Prehear enabled — see section ↑4.3.3, Audi-
tioning Samples. When Prehear is enabled, Button 5 and 6 select the previous/next Sample in the
result list without loading it automatically.

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4.3.2 Auditioning Instrument Presets

When you are browsing Instrument presets, a Prehear button and Prehear Volume slider appear
next to the Autoload button.
The Prehear controls.
► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear.
When Prehear is enabled, you can directly hear Instrument presets as you select them in the
Result list of the LIBRARY pane or FILES pane.
► Drag the Prehear Volume slider next to the Prehear button to adjust the volume of the In-
strument presets you are pre-listening to.
The Prehear signal is sent to the Cue bus of MASCHINE. This allows you to pre-listen to Instru-
ment presets on a distinct output pair (e.g., in your headphones) without affecting MA-
SCHINE’s main output. For more information on the Cue bus, see section ↑13.2.6, Using the
Cue Bus.
Prehear is particularly useful on your controller! See below for more details.
Auditioning Instrument Presets using the Controller

When browsing Instrument presets on your controller:
► Press SHIFT + Button 8 (PREHEAR) to enable/disable the Prehear function.
When Prehear is enabled:
▪ The Instrument preset selected in the result list can be heard.
▪ Turn the 4-D encoder or Knob 8 to select the previous or next Instrument preset in the re-
sult list. Upon selection this Instrument preset is played back and the previous Instrument
preset stops playing.
▪ Button 5 (PREV) and 6 (NEXT) allow you to audition the previous or next preset in the re-
sults list.

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▪ In Pad Mode, pressing the highlighted pad allows you to also audition the Instrument pre-
set again.
▪ To load the Instrument preset, press the 4-D encoder or Button 8 (LOAD).
When you disable Prehear, the playback of any Instrument preset still being pre-listened is
stopped.
The Prehear signal is sent to the Cue bus of MASCHINE. For more information on the Cue bus, see
section ↑13.2.6, Using the Cue Bus.
See also
2 Loading the Selected Files Automatically [➙ 195]
2 Loading the Selected Files Automatically [➙ 195]
4.3.3 Auditioning Samples

When you are browsing Samples, a Prehear button and Prehear Volume slider appear next to
the Autoload button.
The Prehear controls.
► Click the Prehear button (showing a little speaker icon) to enable/disable Prehear.
When Prehear is enabled, you can directly hear Samples as you select them in the Result list
of the LIBRARY pane or FILES pane.
► Drag the Prehear Volume slider next to the Prehear button to adjust the volume of the
Samples you are pre-listening to.
The Prehear signal is sent to the Cue bus of MASCHINE. This allows you to pre-listen to Sam-
ples on a distinct output pair (e.g., in your headphones) without affecting MASCHINE’s main
output! For more information on the Cue bus, see section ↑13.2.6, Using the Cue Bus.
Prehear and Autoload are mutually exclusive: Only one of them can be active at a time. For more
information on the Autoload feature, see section ↑4.3.1, Loading the Selected Files Automatically.

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Auditioning Samples using the Controller

When browsing Samples on your controller:
► Press SHIFT + Button 8 (PREHEAR) to enable/disable the Prehear function.
When Prehear is enabled:
▪ The Sample selected in the result list can be triggered from the pad of the focused Sound
or from any pad without being loaded into that Sound.
▪ Pressing any other pad triggers its Sound without changing the focus. To set the focus to
another Sound you have to press SELECT + its pad or to disable Prehear.
▪ Turn the 4-D encoder or Knob 8 to select the previous or next Sample in the result list.
Upon selection this Sample is played back and the previous Sample stops playing.
▪ Button 5 (PREV) and 6 (NEXT) do not automatically load the Sample they select as they
usually do (see section ↑4.3.1, Loading the Selected Files Automatically), but instead they
play it back as well.
▪ To load the Sample, press the 4-D encoder or Button 8 (LOAD).
When you disable Prehear, the playback of any Sample still being pre-listened is stopped.
The Prehear signal is sent to the Cue bus of MASCHINE. For more information on the Cue bus, see
section ↑13.2.6, Using the Cue Bus.
4.3.4 Loading Groups with Patterns

Every Group from the factory library includes a set of Patterns that illustrate possible uses of
that Group. Similarly, when you save a Group of your own to the Library for later use, all Pat-
terns you have created for that Group will be saved with the Group.
When browsing Groups, you can choose to load each Group with or without its Patterns. This is
done by clicking the + PATTERNS button at the bottom of the Browser:
▪ + PATTERNS button enabled: Groups will be loaded together with their Patterns. This al-
lows you to use the Patterns you have saved with the Groups. Upon loading, all Patterns of
the focused Group will be replaced, and a Clip referencing the first Pattern will be created
in the selected Scene.

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▪ + PATTERNS button disabled: Groups will be loaded without their Patterns. This allows
you to load another set of Sounds while keeping your current Patterns. Notably, this can be
very useful to try another drum kit with your current Patterns.
+PATTERNS is only available when browsing Groups.
Loading Groups with Patterns using the Controller

When browsing Groups on your controller:
► Press SHIFT + Button 4 (+ PATTERNS) to include or exclude Patterns when Groups are
loaded.
→ When the option is enabled (Button 4 lit and + PATTERNS label highlighted), Groups are
loaded together with their Patterns.
4.3.5 Loading Groups with Routing

When the file type Groups is selected, the +ROUTING button is available in the Control bar of
the Browser. When the +ROUTING button is enabled the audio and MIDI routings stored in the
Group are also loaded (potentially overwriting previous routings in the selected Group). When
the +ROUTING button is off, any audio and MIDI routings saved in the Group will not be load-
ed, thus preserving any existing routings in the active Group.
Loading Groups with Routing using the Controller

► Press SHIFT + Button 3 (+ ROUTING) to include or exclude audio and MIDI routing when
Groups are loaded.
→ When the option is enabled (Button 3 lit and + ROUTING label highlighted), Groups are
loaded together with their audio and MIDI routing.
4.3.6 Displaying File Information
The Information button.

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Using Favorites in the Browser
► Click the Information button (showing a little “i”) next to the EDIT button in the right part
of the Control bar to display information on the file(s) selected in the Result list.
→ A box appears above with various information on the selected file(s): File Format, Date
modified, File Size, Type, as well as the Author and Vendor properties, if any (see section
↑4.5, Editing the Files’ Tags and Properties).
The Information box provides various information on the selected file(s).
If the selected files have different characteristics, the corresponding fields in the Information
box will read multi.
4.4 Using Favorites in the Browser

Favorites in the MASCHINE browser allow you to quickly view and browse your most frequently
used items. This includes Projects, Groups, Sounds, Instrument presets, Effect presets, and
Samples. Any of these items can be assigned as a Favorite. The Favorites serve as an addition-
al filter in the Browser. When activated, the results list will only show items that have been
assigned as a Favorite, and also match all other selected filters, including the search query en-
tered into the search field. Favorites are available for both the factory content and the user
content.
Here are some important notes regarding the use of Favorites:
▪ Favorites are automatically shared across MASCHINE and KOMPLETE KONTROL browser
databases on one computer.
▪ Favorites are independent of the file's location: if a file is moved, it retains its favorite tag.

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▪ Favorites are persistent: If a file location is rescanned or deleted and later added again to
the database, all files retain their favorite tags.
The MASCHINE Browser showing all Favorite Instruments tagged with the Type Bass.
To activate the Favorites filter:

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1. Click on the Filter Favorites control next to the search field to filter the results by Favor-
ites:
2. The Filter Favorites control is now lit and the results list shows all Favorites that match
the selected search criteria:
Adding an Item to the Favorites List

To add an item to the Favorites, follow the instructions below:
1. Place the mouse cursor over an entry in the results list to show the Set Favorite icon.

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2. Click on the Set Favorite icon to add the corresponding item to the Favorites.
→ The item is added to the Favorites, indicated by the lit Set Favorite icon next to its name:
You can add any item in the results list to the Favorites, no matter if it is selected or not. The Set
Favorites icon will appear as soon as you place the mouse cursor over the entry.
Removing a Preset from the Favorites List

To remove a preset from the Favorites, follow the instructions below:

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1. Click on the lit Set Favorite icon to remove the corresponding item from the Favorites.
2. The item is removed from the Favorites, indicated by the hidden Set Favorite icon. The
next time you select the Favorites filter, the item will not be shown in the results list.
Using Favorites with the Controller

You can view and add Favorites directly using your controller. This lets you access your most
frequently used items without touching the computer's mouse and keyboard.
Activating the Favorites filter

To activate the Favorites filter from your controller:
1. Press the BROWSER button.

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2. Press the Button 7 to activate the Favorites filter.
3. To filter the list of Favorites, use knobs 5 to 8.
→ The Favorites filter is now activated and the results list shows all Favorites that match the
search criteria:
Adding an Item to the Favorites

To add an item to the Favorites using follow the instructions below:
2. Press Button 1 or 2 to select the type of item you want to set as a Favorite.
3. Turn the 4-D encoder to select the item you want to set as a Favorite.
4. Press SHIFT + Button 7 to set the selected item as a Favorite.

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Editing the Files’ Tags and Properties
→ The item is added to the Favorites, indicated by the Favorite icon next to its name:
Removing an Item from the Favorites

To remove an item from the Favorites use the following instructions:
2. Turn the Control encoder to select the item you want to remove from the Favorites list.
3. Press SHIFT + Button 7 to remove the selected item from the Favorites list.
→ The item is removed from the Favorites list.
4.5 Editing the Files’ Tags and Properties

The Attribute Editor allows you to assign or edit tags and properties to your MASCHINE files to
make it easier to find them later when browsing the MASCHINE Library in the LIBRARY pane
(see section ↑4.2, Searching and Loading Files from the Library).
4.5.1 Attribute Editor Basics

The Attribute Editor is used in the following situations:
▪ At any time you can edit the tags and properties of user files already in the Library by se-
lecting them in the Result list of the LIBRARY pane and clicking the EDIT button at the
bottom right of the Browser. After you have finished editing click APPLY to apply your

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changes to the selected files, or click the lit EDIT button again to cancel you changes and
close the Attribute Editor. See section ↑4.2, Searching and Loading Files from the Library
for more information on the LIBRARY pane.
▪ When importing folders to the MASCHINE Library from the Browser’s FILES pane, clicking
IMPORT at the bottom right of the Browser automatically opens the Attribute Editor so you
can tag the files being imported. After you have finished tagging click OK to import the
files to the Library and apply the selected tags, or click CANCEL to cancel the import. See
section ↑4.6, Loading and Importing Files from Your File System for more information on
the FILES pane.
The Attribute Editor (here showing the TYPES page).
The Attribute Editor affects the files selected in the Result list of the LIBRARY pane (see sec-
tion ↑4.2.9, Loading a File from the Result List) or the files within the folders selected for im-
port in the FILES pane (see section ↑4.6, Loading and Importing Files from Your File System).
The Attribute Editor is organized into various pages:
▪ In the LIBRARY pane of the Browser, all pages are available: BANK, TYPES, MODES (In-
strument/Effect presets only), and PROPERTIES.
▪ In the FILES pane of the Browser, only the TYPES and MODES pages are available.
► Click the desired tab at the top right of the Attribute Editor to show the corresponding
page.

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You can adjust the overall height of the Attribute Editor by dragging its upper border.
The number of items selected appears in yellow in the upper left corner of the Attribute Editor.
Displaying Attributes of Factory Files

When browsing in the LIBRARY pane, if the files selected in the Result list are factory files
(i.e. files from any factory content) this will be indicated by a yellow read only item label next
to the EDIT button at the bottom of the Browser:
Factory files are loaded in the Attribute Editor.
The Attribute Editor will display the various attributes for these files, but you won’t be able to
modify them.
4.5.2 The BANK Page

The BANK page is only available when opening the Attribute Editor from the LIBRARY pane.
The BANK page of the Attribute Editor.
The BANK page shows you (from top to bottom) the product, bank, and sub-bank(s) of the se-
lected file(s). If any of these attributes are not set the corresponding fields read empty….
You cannot modify the attributes shown in the BANK page — they are automatically assigned
by MASCHINE.

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4.5.3 The TYPES and MODES Pages

The TYPES and MODES pages display and let you modify the tags assigned to the file(s) se-
lected in the Result list above.
▪ The TYPES page is available for all file types when opening the Attribute Editor both from
the LIBRARY pane and the FILES pane. It shows three columns (for Projects, Groups,
Sounds, and Samples) or two columns (for Instrument and Effect presets) according to the
hierarchical levels of the Type tags (see section ↑4.2.6, Selecting Type and Mode Tags):
▪ The MODES page is available when opening the Attribute Editor from the LIBRARY pane to
edit the tags of Instrument and Effect presets. When opening the Attribute Editor from the
FILES pane to import new files, the MODES page is always available, however it will be
taken into account only if Instrument or Effect presets are imported. The MODES page
shows only one column:

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Displaying Tags
▪ In both TYPES and MODES pages, tags assigned to the selected files are marked with a
check mark right of their name:
▪ In the TYPES page, click the name of a tag to select it and display its Sub-Types in the
next column to the right. In each column only one tag can be selected. The selected tag is
highlighted:
Assigning Tags
► Click the empty check box right of the desired tag name to assign this tag to the selected
files.
→ A check mark appears in the check box.

Additionally, when you check a tag on the TYPES page:
▪ If another column is available on the right the tag you check is automatically selected and
its Sub-Types appear in the next column (if any), allowing you to directly refine your de-
scription by checking the desired Sub-Types in this next column.
▪ If you check a Sub-Type tag whose parent tag was not checked in the previous column on
the left, this parent tag will be automatically checked as well.
Be as precise as possible when tagging your files in order to be able to find what you are looking for
later.
Unassigning Tags
► Click the check mark right of the desired tag to unassign this tag from the selected files.
→ The check mark disappears.

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In the TYPES page, if you uncheck a tag for which some Sub-Type tags were selected in the col-
umns on the right, these will automatically unassigned as you unassign their parent tag.
Creating New Tags

You can also create your own tags both in the TYPES and MODES pages:
► To create a new tag in any column, click the “+” symbol at the bottom of the column,
enter the desired tag name with your computer keyboard and press [Enter] to confirm.
Adding a new Sub-Type for the Loops Type.
Deleting Tags
Tags in the TYPES and MODES pages cannot be deleted manually. However, if a tag is not as-
signed to any file anymore, it will be automatically removed from its column.
4.5.4 The PROPERTIES Page

The PROPERTIES page is only available when opening the Attribute Editor from the LIBRARY
pane.
The PROPERTIES page of the Attribute Editor.
The PROPERTIES page displays three additional attributes of the selected files:

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Loading and Importing Files from Your File System
▪ Vendor: Use this field to indicate the manufacturer of the selected files. Click the down-
pointing arrow on the right to quickly select any Vendor attribute already in use in other
files of the Library.
▪ Author: Use this field to indicate the author of the selected files. Click the down-pointing
arrow on the right to quickly select any Author attribute already in use in other files of the
Library.
▪ Comment: Use this field to add any other information about the selected files.
As with the other pages of the Attribute Editor, the fields in the PROPERTIES page can be modified
only if you have selected user files in the Result list. The attributes of factory files cannot be edited.
4.6 Loading and Importing Files from Your File System

The Browser’s FILES pane allows you to browse your file system and import the desired folders
to your MASCHINE Library.
► To display the FILES pane, click the FILES tab in the top left corner of the Browser.
4.6.1 Overview of the FILES Pane

The FILES pane contains following elements:

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1 2 3
6
The elements of the FILES pane.
(1) FILES tab: Click the FILES tab to open the FILES pane described here.
(2) Favorite bar: Displays all your Favorites. Click any Favorite to directly jump to that particular
path and display its content in the Result list (5). See section ↑4.6.2, Using Favorites.
(3) Location bar: Displays the selected path. The Location bar provides various tools to quickly
navigate your file system. See section ↑4.6.3, Using the Location Bar.

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(4) Recent Locations button: Click this button to see a list of the last visited locations and quick-
ly jump any of them. See section ↑4.6.4, Navigating to Recent Locations.
(5) Result list: The Result list displays the content (files and folders) of the folder loaded in the
Location bar (3). Only MASCHINE-compatible files are displayed. See section ↑4.6.5, Using
the Result List.
(6) Control bar: At the bottom of the Browser, the Control bar provides a few useful tools when
browsing your file system, some of them depending on the type of the files selected in the Re-
sult list:
▪ For all file types except Project, click the Autoload button at the far left of the Control bar to
automatically load the selected file in order to hear it in context with the rest of your
Project while it is playing. See section ↑4.3.1, Loading the Selected Files Automatically.
▪ For Samples, enable the Prehear button and adjust the volume fader next to it in order to
pre-listen to the selected Samples directly from the Browser in order to make a quick se-
lection. See section ↑4.3.3, Auditioning Samples.
▪ For Groups, enable the Load Patterns checkbox to load the Group’s Patterns together with
the Group. See section ↑4.3.4, Loading Groups with Patterns.
▪ For all files, click the Information button (showing a little “i”) near the EDIT button to dis-
play more information on the selected file(s). See section ↑4.3.6, Displaying File Informa-
tion.
▪ When a folder is selected, click the IMPORT button at the far right of the bar to import the
selected folder to the MASCHINE Library. Clicking the IMPORT button will open the Attrib-
ute Editor so you can assign tags to the selected files about to be imported. See section
↑4.5, Editing the Files’ Tags and Properties.
4.6.2 Using Favorites

Located at the top of the FILES pane, the Favorite bar displays all your Favorites.
The Favorite bar, at the top of the FILES pane.
Favorites are shortcuts to specific locations in your file system.

Browser
► Click any Favorite in the Favorite bar to jump to that location.
→ The selected location is loaded in the Location bar and its content appears in the Result
list.
Favorites can be useful if you often return to the same location while browsing your file system
in the FILES pane: Save this location as a Favorite, and at any time you will be only one click
away from that location!
The default Favorites are the roots of each of your hard disks, your desktop folder, and your
user folder.
Adding and Removing Favorites

You can add your own Favorites to the Favorite bar. This is done in the Result list:
1. Navigate to the parent folder containing the folder you want to use as Favorite, so that
this folder appears in the Result list.
2. In the Result list, right-click ([Ctrl]-click on macOS) the desired folder and select Add to
Favorites from the context menu.
You can also remove any Favorite from the Favorite bar:
► To remove a Favorite, right-click it ([Ctrl]-click it on macOS) in the Favorite bar and select
Remove from Favorites.
4.6.3 Using the Location Bar

The Location bar shows and lets you modify the selected path. At any time the Result list will
display the content of the path shown here.
The Location bar.

Browser
The Location bar provides following tools:

▪ Up arrow: Click the Up arrow on the left to go one level up in your file system.
▪ Selected path: Within the path displayed, you can:
◦ Click any folder name to jump to that folder:
◦ Click any right-pointing arrow after a folder name to open a list of its subfolders, and
select any entry in the list to jump to that folder:
◦ If all the levels cannot be displayed in the path, click the double left-pointing arrow
left of the path to display the remaining upper levels (up to the Workspace, represent-
ing the highest level in your file system), and select any entry in the list to jump to
that location:
4.6.4 Navigating to Recent Locations

The Recent Locations button shows a clock icon at the right of the Location bar:
The Recent Location button.

Browser
The last 10 locations you have visited are stored by MASCHINE and available here:
► Click the Recent Location button and select any recently visited location from the list.
→ This location is loaded in the Location bar and its content displayed in the Result list.
4.6.5 Using the Result List

The Result list of the FILES pane shows the files and folders found in the path loaded in the
Location bar above (see section ↑4.6.3, Using the Location Bar).
Only MASCHINE-compatible files are shown in the Result list.
The Result list of the FILES pane.
If the list is too long to fit in the display, use your mouse wheel or drag the scroll bar on the
right to show the remaining items.

Browser
In front of each file, an icon indicates the type of the file:
Icons for various file types.
Navigating Your File System in the Result List

You can further browse your file system in the Result list by opening any of the displayed fold-
er:
► Double-click a folder to display its content.
To return to the previous folder or to select any folder outside the folder currently displayed,
use the various tools located above the Result list:
▪ Favorites: ↑4.6.2, Using Favorites.
▪ Location bar: ↑4.6.3, Using the Location Bar.
▪ Recent Locations button: ↑4.6.4, Navigating to Recent Locations.
Selecting Files and Folders in the Result List

► To select a single file or folder in the Result list, click its entry.
You can also select multiple files and folders in the Result list in order to process them all at
once.
To select adjacent files in the list, do the following:
► Hold [Shift] on your computer keyboard and click two files in the Result list to select
these files and all files in-between.
To select distant files in the list, do the following:
► Hold [Ctrl] ([Cmd] on macOS) and click all the files you want to select.

Browser
Loading Files from the Result List

You can load files from the Result list using the same methods as in the Result list of the
LIBRARY pane: via double-click or via drag-and-drop. For all details, please refer to section
↑4.2.9, Loading a File from the Result List.
Additional Features in the Result List

► Right-click ([Ctrl]-click on macOS) any entry in the Result list to open a context menu
with additional commands.
The context menu in the Result list of the FILES pane (Windows depicted).
Following commands are available:
Command Description
Add to Favorites (folders only) Adds the selected folder to your Favorites. See section
↑4.6.2, Using Favorites for more information.
Import to Library (folders only) Imports the selected folder(s) into the Library. See section
↑4.6.5, Using the Result List for more information.
Refresh Refreshes the display of the list, in case items have been
modified in that folder.
Find in Exporer / Find in Finder Opens an Explorer/Finder window pointing to the selected
folder.

Browser
Command Description
Sort by Name Sorts the Result list according to the item names.
Sort by Date Sorts the Result list according to the item dates.
4.6.6 Importing Files to the MASCHINE Library

Apart from the huge MASCHINE factory library, you might want to use your own samples or any
MASCHINE files you received from other users. As described previously, you can load them di-
rectly from the FILES pane. If this can come in handy, e.g., to quickly check received files in a
MASCHINE context, it can get tedious when using the files on a regular basis. Furthermore,
you won’t be able to find and load them from your controller nor from the LIBRARY pane (see
section ↑4.2, Searching and Loading Files from the Library).
For this you will have to import the files into the Library first. Importing files does not mean
they will be moved from the directory they currently reside in, they will only be referenced by
the Browser. That’s why whenever you move files, make sure to update the paths to their re-
spective directories in the Library page of the Preferences panel, as described in section
↑3.7.4, Preferences – Default Page.
This section describes how to import files into the MASCHINE Library. When working on a Project,
you can also save individual objects (Project, Groups, Sounds, Plug-in presets, or Samples) of the
Project to the Library for later use. This will be described in each object-specific section, later in
this manual.
MASCHINE supports WAVE (.wav) and AIFF (.aiff) sample formats at a sample rate of 44.1 kHz or
greater and a bit depth of 16 bits, 24 bits or 32 bits float.
The FILES pane allows you to import whole folders. All MASCHINE-compatible files found in
the selected folder(s) will be imported.
To import a folder, do the following:
1. Click the FILES tab at the top of the Browser to open the FILES pane.
2. In the FILES pane, navigate to the folder containing the folder you want to import. To do
this, use the various tools described in the previous sections.

Browser
3. Select the desired folder as described above.

4. Click the IMPORT button at the bottom right of the Browser.
You will be presented with the Attribute Editor.
5. In the Attribute Editor, tag the files you are about to import to the Library as described in
section ↑4.5, Editing the Files’ Tags and Properties.
6. When you are done, click OK at the bottom right of the Browser to import the files to the
Library.
→ All MASCHINE-compatible files found in the selected folder(s) are imported to your Li-
brary. They are added as user content (User icon selected in the Content selector of the
LIBRARY pane, see section ↑4.2.5, Choosing Between Factory and User Content). Fur-
thermore, the paths of the imported folders are added to the list of user libraries in the
User pane of the Library page in the Preferences panel — see section ↑3.7.4, Preferences
– Default Page for more information on this.
If the folder(s) you are importing contain different types of files (e.g., Samples, Sounds, and
Groups), the various imported files will be available by selecting the corresponding types in the File
Type selector (see section ↑4.2.4, Selecting a File Type).
You can also apply/remove tags at any time after they are imported. However, it may be best to tag
files on import, since it will make it easier to find them later.
Other Attributes Set During Import

In addition to the Type (and possibly) Mode tags that you can manually assign to the files be-
ing imported (see above), other attributes are automatically set as follows:
▪ For all file types, any attributes already assigned to the files will be retained.
▪ For Samples, if the product/bank/sub-bank attributes are empty, they will be set to the
folders in which the Samples are located:
◦ The product will be set to the name of the folder you have selected.
◦ If Samples reside in a subfolder of this folder, the subfolder name will be used as
bank.

Browser
Locating Missing Samples
◦ If Samples reside in a subfolder of this subfolder, the name of the lower subfolder will
be used as sub-bank.
4.7 Locating Missing Samples

If you are loading a MASCHINE Project and one or more referenced Sample(s) cannot be found
for any reason, a dialog in which you can locate the missing Samples will appear.
The Missing Sample dialog allows you to locate missing Samples.
Sounds referencing missing Samples are marked with an exclamation mark. Additionally, their
Groups are also marked with an exclamation mark when selected.
The Missing Sample dialog shows you which Sample cannot be found. Three buttons at the
bottom of the dialog let you choose between following actions:
▪ IGNORE: Click this button to continue loading your Project without locating the missing
Sample. You will be able to locate it at a later time (see below).
▪ IGNORE ALL: Click this button to ignore the missing Sample as well as all other missing
Samples, if any. You will be able to locate them at a later time (see below).
▪ LOCATE: Clicking this button opens a Locate selection dialog in which you can manually
locate the missing Sample. Navigate to the desired Sample in your file system and click
Open. Consequently, your Project uses the newly selected Sample in place of the missing
one. If other Samples are missing, MASCHINE tries to trace their path starting from the
path you just indicated.

Browser
Locating Missing Samples
Locating or Purging Missing Samples at a Later Time

When Sample references cannot be resolved, two additional Purge Missing Samples and Find
Missing Samples appear in the context menu of the affected Sound(s) in the Sound List.
The Purge Missing Samples and the Find Missing Samples entries in the context menu of a Sound whose Sample is missing.
1. Select Purge Missing Samples from the Sound slot’s context menu to remove the missing
Sample(s) from that Sound.
2. Select Find Missing Samples from the Sound slot’s context menu to open the Missing
Sample dialog again and locate missing Samples for that Sound.
The same commands also appear in the context menu of the parent Group in the Group List,
as well as in the in the File submenu of the MASCHINE menu (in the MASCHINE Header):
▪ In the context menu of the parent Group, these commands will affect all Sounds with miss-
ing Samples in that Group.
▪ In the File submenu of the MASCHINE menu, these commands will affect all Sounds with
missing Samples in your Project.

Browser
Using Quick Browse
4.8 Using Quick Browse

Quick Browse is a feature that allows you to quickly recall a search query you performed to get
to a given file. Let’s say you have loaded a kick Sample after browsing the Library, then loaded
a snare Sample to another Sound slot and now you realize you are not satisfied with that kick
Sample, but you heard a nice kick Sample just before you chose the current one. Normally you
would now have to try to remember the name or the tags you used to find it, or browse all kick
Samples (given that the MASCHINE Library already has several hundreds of kick Samples, this
may take a considerable amount of time). With Quick Browse you can restore the query with
just one click.
Quick Browse is available for Samples, Plug-ins presets (Instruments and Effects), Sounds,
Groups. Depending on the type of file you are looking for, the Quick Browse function is activat-
ed by clicking the magnifying glass in either of the following locations:
▪ Quick Browse for Projects, Groups and Sounds: Click the magnifying glass right of the colored
file name appearing in the upper left part of the Control area to recall the search query that
was used for that file. That file will be:
◦ The focused Group if the GROUP tab is selected above:
◦ The focused Sound if the SOUND tab is selected above:

Browser
Using Quick Browse
▪ Quick Browse for Instrument/Effect presets and for Samples: Click the magnifying glass in the
upper right corner of the Control area to recall the search query that was used for the Plug-
in in the selected slot:
◦ If a Sampler Plug-in is selected, it will recall the search query used for the Sample
loaded in that Sampler. If several Samples are loaded in the Sampler, it will recall the
search query for the Sample in the selected Zone in the Zone List.
◦ If any other Instrument or Effect Plug-in is selected, it will recall the search query
used for the Plug-in preset loaded in that Plug-in (the preset name appears next to the
magnifying glass):
Upon your click on the magnifying glass, the search query for the corresponding file will be
restored in the LIBRARY or FILES pane of the Browser (depending on which of both panes was
used to find the file). The file will be shown in the Result list — if necessary, the list will be
scrolled to display the file. You can then choose other results for that query from the Result
list.
The Quick Browse function is also available from your controller! See below for more information.
If No Search Query Was Used for a File…

If a file of your Project wasn’t loaded via a search in the Browser, obviously there is no search
query to be retrieved! Nevertheless, Quick Browse will try various techniques to find out where
the file “comes from.” For example, if you have loaded a file via drag and drop from your desk-
top or any other location on your computer, Quick Browse will display the FILES pane pointing
to that location.

Browser
Using Quick Browse
Quick Browse from Control Mode on the Controller

From your controller you can easily access Quick Browse for Samples and Plug-in presets di-
rectly from Control mode:
1. Press PLUG-IN to enter Control mode and access your Plug-ins.
2. Navigate to the channel (Master, Group or Sound) hosting the Plug-in for which you want
to recall the search query — see section ↑3.3.7, Focusing on a Group or a Sound and
↑3.3.8, Switching Between the Master, Group, and Sound Level.
3. In this channel, select the desired Plug-in (for a Sample, select the Sampler Plug-in in
which it is loaded) — see section ↑3.3.9, Navigating Channel Properties, Plug-ins, and
Parameter Pages in the Control Area.
4. Press Button 8.
⇨ Button 8 is illuminated, and the result list that was used to find this file directly appears
in the right part of the right display:

Browser
Using Quick Browse
5. Turn the 4-D encoder to select the desired Plug-in preset or Sample from the list, and
press the 4-D encoder to load it.
→ The selected file replaces the previous file in your Project.
Quick Browse from Browse Mode on the Controller

You can also access Quick Browse from the Browser on your controller. This notably allows you
to perform Quick Browse on Sounds and Groups as well:
1. Press PLUG-IN to enter Control mode.
2. If you want to trigger Quick Browse for a Group or a Sound, set the focus to this Group or
Sound — see section ↑3.3.7, Focusing on a Group or a Sound.
3. If you want to trigger Quick Browse for a Sample or a Plug-in preset, additionally select
the desired Plug-in (for a Sample, select the Sampler Plug-in in which it is loaded) — see
section ↑3.3.8, Switching Between the Master, Group, and Sound Level and ↑3.3.9, Navi-
gating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.
Once you have focused/selected the desired file, switch your controller to Browse mode to con-
tinue:
1. Press BROWSER to enter the Browser.
2. Press Button 1 and 2 to select the file type corresponding to the file you have focused/
selected above.
3. Press Button 3 (showing a magnifying glass) to trigger the Quick Browse function.
The Browser automatically recalls the search query used when you loaded that file.
4. Turn the 4-D encoder or Knob 8 to select the desired Plug-in preset or Sample from the
list, and press the 4-D encoder or Button 8 (LOAD) to load it.
The selected file replaces the previous file in your Project.

Managing Sounds, Groups, and Your Project
Overview of the Sounds, Groups, and Master
5 Managing Sounds, Groups, and Your Project
This chapter explains how to handle the various objects that structure any MASCHINE Project:
Sounds, Groups, and the Master.
5.1 Overview of the Sounds, Groups, and Master

In a MASCHINE Project, objects are organized into three hierarchic levels, from the lowest to
the highest:
▪ Sounds are played by the pads. They are loaded into Sound slots. In the software, in Ar-
range view Sound slots are displayed in the column at the left of the Pattern Editor: the
Sound List (1). Each Sound of the selected Group is by default mapped to one of the 16
pads on the MASCHINE hardware controller, so you can play all Sounds of a Group by
pressing the pads. Sounds are made up of any number of Plug-ins that process the audio
in series. Sounds are the only objects in MASCHINE that can accept Instrument Plug-ins
— these go in the Sounds’ first Plug-in slot. The type of the Plug-in (Instrument or Effect)
loaded in this first Plug-in slot will define the Sound’s role (audio source or bussing point,
respectively). For more information on Plug-ins and how they define the Sound’s role,
please refer to section ↑7.1, Plug-in Overview.
▪ Groups contain 16 Sound slots each with all their parameters. The 16 pads on your control-
ler can play one entire Group at a time. In the software, in Arrange view Group are dis-
played in the column at the left of the Arranger: the Group List (2). A MASCHINE Project
can have any number of Groups, which are organized in banks of eight Groups each. Each
Group can have any number of insert effects, which will globally apply to all Sounds con-
tained in that Group, as well as any number of Patterns organized in banks of 16 Patterns
each. More on Patterns in chapter ↑11, Working with Patterns.
▪ The Master is the place where all signals from the Groups are being mixed together. Just
like the Groups and Sounds, the Master can host any number of insert effects.

The Group List (1) and the Sound List (2) in the Arrange view of the software.
5.1.1 The Sound, Group, and Master Channels

From a routing point of view, each Sound, each Group, and the Master represents a distinct
channel in MASCHINE. The channels of the 16 Sounds in a Group are mixed together and sent
to the Group channel, where their sum will be processed by the Group’s Plug-ins, if any. Simi-
larly, the channels of all Groups in your Project are mixed together and sent to the Master
channel, where their sum will be processed by the Master’s Plug-ins, if any. The resulting sig-
nal is sent to MASCHINE’s outputs.
Each channel provides various set of Channel properties that adjust the input, output, groove,
and Macro Control settings for that particular Sound, Group, or for the Master, independently
of the Plug-ins it contains. Please refer to chapter ↑12, Audio Routing, Remote Control, and
Macro Controls and section ↑6.3.3, Groove for more details on these.

When the software is in Mix view, Sounds, Groups, and the Master are represented by channel
strips in the Mixer. This view provides you with an intuitive control on both the audio and MIDI
routings of any Sound, Group, and the Master. Please refer to section ↑13.2, The Mixer for
more information.
The Mixer displaying the channel strips for all Sounds in a Group.
5.1.2 Similarities and Differences in Handling Sounds and Groups

Sounds and Groups are handled in very similar ways — see section ↑5.2, Managing Sounds
and ↑5.3, Managing Groups below for all details. We list here the main differences between
both:

▪ In each Group you always have a fixed number of Sound slots — namely 16. Some of these
Sound slots might be empty, and you can have gaps in your slots (i.e. some empty Sound
slots between other slots containing Sounds), depending on how you prefer to play your
Sounds from your pads. You cannot create Sound slots, but instead you can load/unload
Sounds to/from the 16 existing Sound slots in each Group.
▪ In your Project you can have any number of Groups. You can create, fill up, and delete
Groups as you see fit. If you delete a Group, all following Groups are shifted up in the
Group List to fill the gap. If you use more than eight Groups, another Group bank is auto-
matically created.
5.1.3 Selecting Multiple Sounds or Groups

In MASCHINE you can select multiple Sounds or multiple Groups at once. This notably allows you
to change a parameter value for all selected Sounds/Groups at a time!
To achieve this, MASCHINE distinguishes the “focus” from the “selection”:
▪ The focus determines what is displayed in the Control area and on your controller. For ex-
ample, by clicking a Sound in the Sound List you are putting the focus on that Sound, and
the Control area and your controller will display its parameters (Channel properties, Plug-
ins, etc.). For the focus, the following rule applies:
At each level (Sound and Group) there is always one object, and only one, in focus.
The focused object is highlighted in the Sound/Group List, and the background of its lead-
ing letter and/or number has the color of the object itself.
The Sound Vocal AhHa is focused (and selected).

▪ The selection, on the other hand, determines what will be affected by your actions (e.g.,
adjusting a parameter). For example, the focused Sound (i.e. the one you clicked in the
Sound List) is implicitly selected — nothing special here: This just means that the Sound
whose parameters are currently displayed will be indeed affected by the changes you do on
these parameters. But you can select additional objects on top of the focused object, there-
by extending your selection. Selected objects are highlighted in the Sound/Group List but
their leading letter and/or number stays gray.
Other Sounds were added to the selection (but they are not focused).
More precisely, if a Group or a Sound is currently focused, you can additionally select other
Groups or Sounds, respectively. These will be also affected by your edits on the focused Group
or Sound.
You cannot select Sounds and Groups simultaneously.
Each Group remembers its own Sound selection and focus.

When setting the focus to a new Sound or Group, following rules apply:
▪ If you set the focus to a Sound or Group which is not selected, both the focus and the se-
lection are moved to this new Sound or Group.

▪ If you set the focus to a Sound or Group which is already included in the current selection,
the focus is moved to this new Sound or Group but the selection is preserved. This notably
allows you to check the parameters of any selected Sound or Group while keeping the abili-
ty to modify parameters for the entire selection.
What Is Affected by the Multiple Selection, and How?

When multiple Sounds or multiple Groups are selected, any change in the following settings of
the focused Sound/Group will be mirrored in the other selected Sounds/Groups, respectively:
▪ Channel properties: Parameter adjustments apply to all selected Sounds/Groups for any pa-
rameter in any set of Channel properties. See chapter ↑12, Audio Routing, Remote Control,
and Macro Controls for more information on the Channel properties.
▪ Plug-ins: Parameter adjustments apply to all selected Sounds/Groups that have the same
Plug-in loaded in the same Plug-in slot. See chapter ↑7, Working with Plug-ins for more
information on Plug-ins.
▪ Pad view: Base key, Choke group, and Link group settings apply to all selected Sounds. See
section ↑6.1, Adjusting the Pads for more information on these settings.
▪ You can move multiple Sound slots or multiple Groups at once. See section ↑5.2.7, Moving
Sounds and ↑5.3.7, Reordering Groups for more information.
▪ You can reset multiple Sound slots and delete multiple Groups at once. See section ↑5.2.8,
Resetting Sound Slots and ↑5.3.8, Deleting Groups for more information.
The adjustments made in the Assignment area are never mirrored in any other selected Sound/
Group.
Furthermore, the exact influence on the equivalent parameter in the affected Sounds/Groups
depends on the type of parameter:
▪ Continuous parameters (knob): the values in all selected Sounds/Groups are incremented/
decremented by the same amount as the value in the focused Sound/Group. Values are
clipped when they reach their range limit.
▪ Discrete parameter (button or selector): the values in all selected Sounds/Groups are set to
the value of the focused Sound/Group.

Selecting Multiple Sounds/Groups in the Software

To select multiple Sounds or multiple Groups in the MASCHINE software, simply use the com-
mon keyboard shortcuts of your operating system: in the Sound List or the Pad view for
Sounds, and in the Group List for Groups. Following actions are available:
Action Function
Selecting Objects (Sounds or Groups)
Click unselected object Selects the object and sets the focus to it.
Click selected object Sets the focus to this object while retaining
the selection.
[Ctrl]-click ([Cmd]-click on macOS) Adds the object to the selection.
unselected object
[Ctrl]-click ([Cmd]-click on macOS) selected Deselects the object — except for the focused
object object, which cannot be deselected.
[Shift]-click object Selects all objects between the focused one
and the [Shift]-clicked one.
[Ctrl] + [A] ([Cmd] + [A] on macOS) if some Selects all objects in the list.
objects are not selected
[Ctrl] + [A] ([Cmd] + [A] on macOS) if all Deselect all objects except the focused one,
objects are selected in the list which cannot be deselected.
The shortcuts mentioned in the table above are valid in following areas of the MASCHINE win-
dow:
▪ To select multiple Groups, use these shortcuts in the Group List.
▪ To select multiple Sounds, use these shortcuts in the Sound List or in the Pad view (see
section ↑6.1.1, The Pad View in the Software).
Selecting Multiple Sounds/Groups on the Controller

On your controller, you can select multiple Sounds or Groups via the Select mode:

► Press and hold SELECT to enter Select mode. You can also press SELECT + Button 1 to
pin this mode and make it permanent.
→ You are ready to select more than one Sound or Group.
Selecting Sounds and Groups via the Select mode.
You have following selection tools at your disposal:
Selection Tool Description

Pads Press any pad to set the focus to that particular Sound slot. The pad
lights up to indicate that the Sound slot is focused (and selected).
Unlit pads indicate unselected, empty Sound slots, and half-lit pads
indicate unselected Sounds. The selection behavior depends on the
state of the MULTI option (Button 8, see below).
Group buttons A–H Press any Group button to set the focus to that particular Group in the
current Group bank. The button lights up to indicate that the Group is
focused (and selected). Unlit Group buttons cannot be pressed (they
don’t correspond to any existing Group), and half-lit Group buttons
indicate unselected Groups. The selection behavior depends on the
state of the MULTI option (Button 8, see below).
Button 3/4 (PREV/ Selects the previous/next Group bank, respectively.
NEXT)
Button 5 (ALL) Selects all Sounds in the current Group without changing the focus.

Managing Sounds

Button 6 (NONE) Deselects all Sounds in the current Group except the focused Sound.
Button 8 (MULTI) Enables/disables the multiple selection mode. Toggling this option
does nothing to the current focus nor selection but changes the
behavior of the selection process — see below.
The MULTI option (Button 8) switches between single and multiple selection:
▪ When MULTI is disabled (Button 8 off):
◦ Pressing the Group button / pad of an unselected Group/Sound sets the focus to that
Group/Sound and clears the current Group/Sound selection (only the focused Group/
Sound is then selected). The Group button / pad lights up.
◦ Pressing the Group button / pad of a selected Group/Sound only sets the focus to that
Group/Sound without changing the current Group/Sound selection. The Group button /
pad stays fully lit.
▪ When MULTI is enabled (Button 8 on):
◦ Pressing the Group button / pad of an unselected Group/Sound adds it to the current
Group/Sound selection without changing the current focus. The Group button / pad
lights up.
◦ Pressing the Group button / pad of a selected Group/Sound unselects it unless it is the
focused Group/Sound. The Group button turns half lit; the pad turns half lit (if it con-
tains a Sound) or off (if it is empty).
5.2 Managing Sounds

This section describes the global editing functions available for Sounds and Sound slots.
Sounds: Sound List or Pad View

With the exception of naming Sound slots, all procedures described in the following sections
are available both in the Sound List and in the Pad view. The Pad view is an alternative repre-
sentation of your Sound slots that puts emphasis on their relationship with the pads on your
controller.

Managing Sounds
The Pad view.
The Pad view can be shown by activating the Pad View button above the Sound List:
The Pad View button.
► Click the Pad View button to show or hide the Pad view.
→ The Pad view replaces the Sound List on the left of the Pattern Editor.
In the Pad view, each cell represents a pad on your controller and corresponds to a Sound slot
in the current Group. You can select Sound slots in either the Sound List or the Pad view as
you see fit, both selections are strictly equivalent.
In addition to the Sound management features described in the following sections, the Pad view
provides extra settings affecting the behavior of your pads. See section ↑6.1, Adjusting the Pads for
more information.

Managing Sounds
5.2.1 Loading Sounds

You can load a readymade Sound from the Browser or from your operating system. The Sound
can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a
Sound you have created yourself and saved for later use.
You have many methods at your disposal to load a Sound:
▪ Drag and drop: Select the desired Sound in the Browser or in your operating system and
drag it onto the desired Sound slot in the Sound List (or the corresponding cell of the pad
grid in Pad view, see above) to load it in that Sound slot. Any Sound previously loaded in
that slot will be replaced.
▪ Double-click: Double-click the Sound in the Browser or the Sound file in your operating sys-
tem to replace the focused Sound in the Sound List.
▪ Context menu: Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List
or the corresponding cell of the pad grid in Pad view, and select Open… in the context
menu. In the Load Sound dialog that opens, navigate to the desired Sound file on your
computer and click Open to load it. The loaded Sound will replace the current Sound load-
ed in that slot.
You can also recall the search query that was used to find the Sound currently loaded in the fo-
cused Sound slot. See section ↑4.8, Using Quick Browse for more information.
In your operating system, Sound files have the extension “.mxsnd” (MASCHINE 2) or “.msnd” (MA-
SCHINE 1.x).
Please refer to chapter ↑4, Browser for more information on the Browser.
Loading Sounds on Your Controller

On your controller, use the Browser to load Sounds:
▪ You can browse your MASCHINE Library for the desired Sound. For more information on
how to do this, please refer to section ↑4.2, Searching and Loading Files from the Library.

Managing Sounds
▪ Alternatively you can recall the search query that was used to find the Sound currently
loaded in the focused Sound slot. See section ↑4.8, Using Quick Browse for more informa-
tion.
5.2.2 Pre-listening to Sounds

You can pre-listen to the Sounds of the focused Group as you set the focus on them in the
software. To do this:
► Click the speaker button above the Sound List (or the Pad view) to enable/disable Sound
pre-listening in the focused Group:
→ When the speaker button is enabled, each time you set the focus on a Sound by clicking
it in the Sound List or in Pad view, this Sound will be played back. This is useful as quick
reminder of the various Sounds loaded in the Group.
Sounds cannot be moved within the Sound List when Pre-listen (speaker button) is switched on.
Pre-listening to Sounds on the Controller

On your controller, pre-listening to Sounds actually is the default behavior: In Control mode,
when you press a pad you both trigger its Sound and bring it into focus at once. Hence, you
don’t need to enable anything, pre-listening to Sounds in the focused Group is working out of
the box.
Setting the Focus on Sounds without Triggering Them

You can also set the focus on any Sound in the current Group without triggering it. This comes
in handy if you are in a live situation and don’t want to trigger every single Sound you select.
To do this, use the Select mode:

Managing Sounds
► Press SELECT + the pad containing the desired Sound.
→ The Sound is focused without being triggered.
5.2.3 Renaming Sound Slots

By default, Sound slots are named Sound 1–16. If you load a Sound, a Plug-in preset or a
Sample (e.g., from the Browser) into the Sound slot, the Sound slot takes the Sound’s, preset’s
or Sample’s name.
You can also rename Sound slots manually. Naming is only available from within the software,
but any changes will also show up on your controller.
To rename a Sound slot:
1. Double-click the name of the desired Sound slot or right-click ([Ctrl]-click on macOS) the
Sound slot and select Rename from the context menu.
The Sound slot’s name is now highlighted and editable.
2. Modify the name of the Sound slot via your computer keyboard. Press [Enter] on your
computer keyboard to confirm.
If you use MASCHINE as a plug-in, some hosts will utilize the [Enter] key, as it is mapped to some
function of the host software. In this case, click anywhere else in the MASCHINE plug-in window to
confirm the name you have entered.
5.2.4 Changing the Sound’s Color

You can change the color of each individual Sound in the software. To do this:

Managing Sounds
1. Right-click ([Ctrl]-click on macOS) the desired Sound slot in the Sound List or in the Pad
view and select Color from the context menu.
A Color Palette appears. In the Palette, the current color of the Sound is highlighted.
2. Select the desired color in the Palette. You can also choose to set the Sound back to the
default color corresponding to its position in the list by selecting Default in the Color Pa-
lette.
→ The pads of the MASCHINE STUDIO, MASCHINE MK3, MASCHINE MK2, and MA-
SCHINE MIKRO MK2 controllers mirror the Sound colors you have selected.
Editing Multiple Sounds

You can apply the following commands to multiple selections of Sounds:
▪ Sounds:
◦ Changing the selected Sounds’ color.
◦ Cutting, copying, and pasting the selected Sounds.
◦ Resetting the selected Sounds.
These commands are available in the Sounds’ context menu.
Notes on Changing the Color of Multiple Sounds

When opening the Color Palette (in order to set a new color setting for the selected Sounds):

Managing Sounds
▪ If the selected Sounds have the same color setting (a particular color or the default color),
this color is highlighted in the Color Palette.
▪ If the selected Sounds have different color settings, no setting is highlighted in the Color
Palette.
When you select a new color setting from the Color Palette it is applied to all selected Sounds.
By default Sounds inherit the color of their Group. But you can choose another default color for
Sounds in Preferences > Colors > Sound Default. See section ↑3.7.8, Preferences – Colors Page for
more information.
Once you have set a custom color for a Sound as described above, the Sound will retain its color
when you move it in the Sound List, and the color will be stored with the Sound when you save the
Sound for later use. Note that you can select the same color as the one used by default: In that
case the color (even unchanged) will be considered as a custom color and will follow the Sound as
you move it.
5.2.5 Saving Sounds

You can save your Sounds as individual files (extension “.mxsnd”). This can be only done in
the software.
Saving Your Modifications into the Original Sound File

If you have made changes to a Sound loaded in your Project, you can save your modifications
as follows:

Managing Sounds
► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view
and select Save from the context menu:
→ Your modifications are saved to the Sound file.
Even if you don’t save a Sound individually, its current settings will still be saved with your Project.
But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and
Projects.
You cannot save changes to factory files — these files are read-only. If you run the Save com-
mand on a factory file, it automatically turns into the Save As… command: a Save Sound dia-
log opens and lets you save your modified Sound to your user library. See next paragraph for
more details. The same happens with Sounds you have built from scratch.
Saving Your Modified Sound as a New Sound

If you want to save modifications you have made on a Sound originating from a factory library,
or if you don’t want to overwrite the original Sound with your modified version, or if there is no
original version of your Sound (i.e. you built it from scratch), you can save it as a new Sound
file:

Managing Sounds
► Right-click (on macOS: [Ctrl]-click) the Sound slot in the Sound List or in the Pad view
and select Save As… from the context menu:
A Save Sound dialog appears. By default, the Sound file inherits the name of its Sound slot
and it will be saved in your Standard User Directory (as defined in Preferences > Library >
User, see section ↑3.7.4, Preferences – Default Page for more information).
1. If you wish, choose another path and/or type another name with your computer keyboard.
2. Press [Enter] to confirm and close the Save Sound dialog.
→ Your Sound is now saved.

The Sound will be added to the user library and is ready to be tagged in the Browser — see
section ↑4.5, Editing the Files’ Tags and Properties for more information on this.
Even if you don’t save a Sound individually, its current settings will still be saved with your Project.
But once a Sound is saved and tagged, it is available in the Browser for use in other Groups and
Projects.
5.2.6 Copying and Pasting Sounds

You can copy and paste Sounds across Sound slots (and thereby across pads) and Groups in
your Project.

Managing Sounds
In the software, Sounds are copied without their note content in the Pattern. To include the note
content in the copying operation, use DUPLICATE on your controller (see below)!
To copy and paste Sounds in the software:

1. Right-click (on macOS: [Ctrl]-click) the Sound slot (in the Sound List or in the Pad view)
containing the Sound you want to copy.
2. In the context menu, choose Copy to copy the Sound.
3. To paste the Sound, right-click (macOS: [Ctrl]-click) another Sound slot (this can also be
in another Group, in this case first click the desired Group in the Group List of the Arrang-
er) and select Paste from the context menu.
→ All parameters of the Sound will be copied except for the source’s Pattern content. The
Sound previously loaded in that Sound slot will be replaced.
Cutting, Copying, and Pasting Multiple Sounds

The cutting procedure for multiple Sounds and Groups is as follows:
▪ When you cut a selection of Sounds, they are placed into the clipboard and removed from
the Sound List. Their Sound slots are reset to their default state.

Managing Sounds
The copying procedure for multiple Sounds is as follows:

When you copy a selection of Sounds, they are both placed into the clipboard and kept in the
Sound List.
The pasting procedure for multiple Sounds is as follows:
▪ When you paste a selection of Sounds onto a Sound slot, the pasted Sounds replace the
current Sound in that slot and in the following slots — if the last Sound slot is reached,
the remaining copied Sounds won’t be pasted at all. Note that this is not affected by any
multiple selection you might have made when pasting. Example: If you paste the Sounds 1,
2, 4, and 7 onto the Sound slot 14, the duplicates of the Sounds 1, 2, and 4 will replace
any existing Sounds in the Sound slots 14, 15, and 16, respectively, while the Sound 7
won’t be pasted at all.
If you want to copy a Sound more than once, just keep on choosing Paste from the context menu on
other Sound slots: the source Sound stays in the clipboard, ready for the next use!
When you copy/paste Sounds in the software, the entire content of the copied Sound(s) is past-
ed, including their events. Notably, pasting a Sound into a Sound slot of a different Group will
create the needed Patterns if they do not exist, and replace the events for that Sound slot in an
existing Patterns.
In the sentence above, “existing Patterns” means the Patterns with the same IDs (i.e. the same po-
sition in the Pattern List) as in the source Group. Example: If the source Sound contains events in
Pattern 1, 2, and 3 of its Group and you paste that Sound into another Group that only has Pattern
1 and 4, Pattern 2 and 3 will be automatically created to host the events of the pasted Sound.
Duplicating Sounds on Your Controller

On your controller in Control mode, do the following to copy a Sound from one pad to another:
1. Press and hold DUPLICATE.
2. If you want to duplicate a Sound including its Pattern content, enable the +EVENTS op-
tion (Button 5).
3. Press the pad of the Sound you want to copy.
The pad of the Sound starts blinking.

Managing Sounds
4. Press the pad of the target Sound slot (this can also be in another Group, in this case first
press the desired Group button).
→ All parameters of the Sound will be copied (including the Pattern content for that Sound
if you have enabled the +EVENTS option). The copied Sound will replace any Sound pre-
viously loaded in the target slot.
You will notice that once you have pasted the Sound, the target pad starts blinking itself, indi-
cating that it is ready to be pasted again to additional Sound slots: Therefore, to duplicate a
Sound more than once, once you have pressed the source pad you just have to press all the
desired target pads in a row.
Instead of holding DUPLICATE, you can also pin the Duplicate mode by pressing DUPLICATE +
Button 1. You can then release DUPLICATE: Your controller will stay in Duplicate mode until you
press DUPLICATE again. See section Pinning a Mode on the Controller for more information.
5.2.7 Moving Sounds

You can reorder Sounds via drag-and-drop in the software. It can be helpful to organize your
Sounds more conveniently. Notably, this allows you to move your Sounds to other pads, and
create a Group that is easier to play from the pads.
You can select multiple Sounds to move them all at once! See ↑5.1.3, Selecting Multiple Sounds or
Groups for more information.
To move one or more Sounds:

1. Click and hold the desired Sound slot(s) in the Sound List or in the Pad view.

Managing Sounds
2. While holding the mouse button, drag your mouse toward the desired location in the
Sound List or in the Pad view.
As the mouse cursor moves an insertion line appears at the potential places where you
can drop the Sound slot(s).
3. When the insertion line appears at the desired location in the Sound List or in the Pad
view, release the mouse button.
→ Each Sound takes its new place in the Group. On your controller, the Sounds will be trig-
gered by the pads whose numbers appear left of the Sound slots in the Sound List or on
the cells in the Pad view.
You can also drag Sounds to another Group in the Group List of the Arranger: The Sounds will
be inserted in the first empty Sound slots of that Group, and that Group will automatically get
the focus. However, in that case the Pattern content of the Sounds won’t be moved.
Sounds cannot be moved within the Sound List when Pre-listen (speaker button) is switched on.
If you drag the Sound(s) to the “+” at the end of the Group List, a new Group is automatically creat-
ed and your Sound(s) will be moved to the first Sound slot(s) of that Group.
5.2.8 Resetting Sound Slots

Resetting a Sound slot will remove the Sound it contains and put all its settings (Channel
properties, name, color…) back to their default values.

Managing Sounds
You can select multiple Sound slots to reset them all at once! See ↑5.1.3, Selecting Multiple
Sounds or Groups for more information.
► To reset a Sound slot, select it in the Sound List or in the Pad view and press [Del] on
your computer keyboard, or right-click (on macOS: [Ctrl]-click) the Sound slot and choose
Reset from the context menu.
→ The content of the Sound slot is removed and the Sound slot is reset to its default set-
tings and name.
Resetting a Sound slot.
Resetting a Sound Slot on Your Controller

► To reset a Sound slot, hold SHIFT + ERASE and then press the pad related to the Sound
you want to reset.
→ The Sound is removed from the pad, and the pad is turned off.

Managing Groups
5.3 Managing Groups

This section describes the global editing functions available for Groups.
Group Menu
Many of the functions described in the following sections are available in the following two
context menus:
▪ The context menu of the Groups in the Group List, opened via a right-click ([Ctrl]-click on
macOS) on the desired Group:

Managing Groups
▪ The context menu of the focused Group in the Pattern Editor, opened via a right-click
([Ctrl]-click on macOS) on the Group name in the top left corner of the Pattern Editor:
Both context menus are equivalent: Use either menu as you see fit.
5.3.1 Creating Groups

Creating a Group will add a new empty Group at the end of the Group List. You can then fill
this Group with the Sounds of your choice.
► To create a Group, click the “+” at the end of the Group List.
→ A new empty Group is created at the end of the Group List with the default name and
color.

Managing Groups
Creating Groups on Your Controller

On your controller, existing Groups are indicated by the lit Group buttons A–H:
▪ The focused Group is indicated by the fully lit Group button.
▪ The other Groups of your Project are indicated by half-lit Group buttons, each Group button
showing the color of the corresponding Group.
▪ In the last Group bank the last half-lit Group button is white: It doesn’t correspond to any
existing Group, but instead allows you to create another Group in your Project.
To create a new Group:
1. Hold SHIFT and press the last lit Group button to select the last Group bank.
2. Release SHIFT.
3. Press the dimmed white Group button after all other lit Group buttons.
→ A new empty Group is created after the existing Groups with the default name and color.
If the last Group bank already contains eight Groups, pressing SHIFT + the last lit Group button at
the first step will directly create a new empty Group in a new Group bank!
Automatic Group Bank Management

In MASCHINE Group banks are managed automatically, so that you don’t have to create or de-
lete them manually. Group are always adjacent in the Group List: you cannot have any gap in
the Group List — nor in any Group bank. When you create a new Group, the following happens:
▪ As long as the last Group bank contains less than eight Groups, the new Group is created
in that bank.
▪ If the last bank already contains eight Groups, a new Group bank is automatically created
after the existing bank(s) and the new Group is created in that new bank.
5.3.2 Loading Groups

You can load a readymade Group from the Browser or from your operating system. The Group
can be included in the MASCHINE Library or any EXPANSION PACK but it can also be a
Group you have created yourself and saved for later use.

Managing Groups
You have many methods at your disposal to load a Group whether you are in Ideas view or Song
view:
▪ Drag and drop: Select the desired Group in the Browser or Group file in your operating sys-
tem and drag it onto the Group List:
◦ Drag it onto an existing Group to replace this Group in the Group List.
◦ Drag it between two Groups to insert it between both.
◦ Drag onto the “+” at the end of the Group List to append it to the existing Groups.
▪ Double-click: Double-click the Group in the Browser or the Group file in your operating sys-
tem to replace the focused Group in the Group List.
▪ Context menu: Right-click ([Ctrl]-click on macOS) the desired Group in the Group List or the
Group name in the top left corner of the Pattern Editor and select Open… in the context
menu. In the Load Group dialog that opens, navigate to the desired Group file on your com-
puter and click Open to load it. The loaded Group will replace the current Group in the
Group List.
You can also recall the search query that was used to find the Group currently loaded in the focused
Group slot. See section ↑4.8, Using Quick Browse for more information.
In your operating system, Group files have the extension “.mxgrp” (MASCHINE 2) or “.mgrp” (MA-
SCHINE 1.x).
To learn more about the Browser, refer to ↑4, Browser.
Loading Groups on Your Controller

On your controller, use the Browser to load Groups:
▪ You can browse your MASCHINE Library for the desired Group. For more information on
how to do this, please refer to section ↑4.2, Searching and Loading Files from the Library.
▪ Alternatively you can recall the search query that was used to find the Group currently
loaded in the focused Sound slot. See section ↑4.8, Using Quick Browse for more informa-
tion.

Managing Groups
5.3.3 Renaming Groups

By default, new Groups are named Group Ax–Hx, “x” indicating the bank number (Group A1–
H1, Group A2–H2, etc.).
You can rename Groups as you see fit. Naming is only available from within the software, but
any changes will also show up on your controller.
Group renaming is performed like Sound renaming:
1. Double-click the name of the desired Group in the Group List or right-click ([Ctrl]-click on
macOS) the Group and select Rename from the context menu.
The Group name is now highlighted and editable.
2. Modify the name of the Group. Press [Enter] on your computer keyboard to confirm.
5.3.4 Changing the Group’s Color

You can change the color of each individual Group in the software. To do this:

Managing Groups
1. Right-click ([Ctrl]-click on macOS) the desired Group in the Group List or the Group name
in the top left corner of the Pattern Editor and select Color from the context menu.
A Color Palette appears. In the Palette, the current color of the Group is highlighted.
2. Select the desired color in the Palette. You can also choose to set the Group back to the
default color corresponding to its position in the list by selecting Default in the Color Pa-
lette.
→ The Group buttons of the MASCHINE MK3, MASCHINE STUDIO, MASCHINE MK2 con-
trollers, and the pads of the MASCHINE MIKRO MK3, MASCHINE MIKRO MK2 controller
(when you hold the GROUP button) mirror the Group colors you have selected.
By default each Group has a different color. But you can choose a common default color for Groups
in Preferences > Colors > Group Default. See section ↑3.7.8, Preferences – Colors Page for more
information.
Once you have set a custom color for a Group as described above, the Group will retain its color
when you move it in the Group List, and the color will be stored with the Group when you save the
Group for later use. Note that you can select the same color as the one used by default: In that case
the color (even unchanged) will be considered as a custom color and will follow the Group as you
move it.

Managing Groups
5.3.5 Saving Groups

You can save your Groups as individual files (extension “.mxgrp”). This can be only done in the
software.
Saving Your Modifications into the Original Group File

If you have made changes to a Group loaded in your Project, you can save your modifications
as follows:
► Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the
top left corner of the Pattern Editor and select Save from the context menu:
→ Your modifications are saved to the Sound file.
Even if you don’t save a Group individually, its current settings will still be saved with your Project.
But once a Group is saved and tagged, it is available in the Browser for use in other Projects.

Managing Groups
You cannot save changes to factory files — these files are read-only. If you run the Save com-
mand on a factory file, it automatically turns into the Save As… command: a Save Group dia-
log opens and lets you save your modified Group to your user library. See next paragraph for
more details. The same happens with Groups you have built from scratch.
Saving Your Modified Group as a New Group

If you want to save modifications you have made on a Group originating from a factory library,
or if you don’t want to overwrite the original Group with your modified version, or if there is no
original version of your Group (i.e. you built it from scratch), you can save it as a new Group
file:
1. Right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group name in the
top left corner of the Pattern Editor and select Save As… from the context menu:
A Save Group dialog appears. By default, the Group file will be saved in your Standard
User Directory (as defined in Preferences > Library > User, see section ↑3.7.4, Preferen-
ces – Default Page for more information).
2. If you wish, choose another path and/or type another name with your computer keyboard.
3. Press [Enter] to confirm and close the Save Group dialog.
→ Your Group is now saved.

Managing Groups
The Group will be added to the Library and is ready to be tagged in the Browser — see section
↑4.5, Editing the Files’ Tags and Properties for more information on this.
You can also save a Group together with all the Samples used in this Group. This can be useful to
use a drum kit on another computer or share it with other users. See section ↑5.4.1, Saving a Group
with its Samples for more information.
5.3.6 Copying and Pasting Groups

You can copy and paste Groups in your Project.
To copy and paste Groups in the software:
1. Right-click (on macOS: [Ctrl]-click) the Group you want to copy in the Group List or the
Group name in the top left corner of the Pattern Editor.
2. In the context menu, choose Copy to copy the Group.

Managing Groups
3. Right-click (macOS: [Ctrl]-click) any Group in the Group List and select Paste from the
context menu to replace that Group with the copied one. If you want to paste the Group
without affecting the existing Groups, first click the “+” under the last Group to create a
new empty Group and paste the Group there.
→ All parameters of the Group will be copied. The Group previously in that position in the
Group List will be replaced.
Cutting, Copying, and Pasting Logic for Multiple Groups

The cutting procedure for multiple Sounds and Groups is as follows:
▪ When you cut a selection of Groups, they are placed into the clipboard and removed from
the Group List. All following Groups in the list are shifted up to fill the gap.
The copying procedure for multiple Groups is as follows:
When you copy a selection of Groups, they are both placed into the clipboard and kept in the
Group List.
The pasting procedure for multiple Groups is as follows:

Managing Groups
▪ When you paste a selection of Groups onto an existing Group, the pasted Groups replace
that Group and the following Groups. Example: If you paste the Groups A1 and B1 onto the
Group E2, the duplicates of A1 and B1 will replace the Groups E2 and F2, respectively (if,
say, F2 didn’t exist it is automatically created).
If you want to duplicate a Group more than once, just keep choosing Paste from the context menu
on other Groups: the source Group stays in the clipboard, ready for the next use.
When you copy/paste Sounds or Groups in the software, the entire content of the copied
Sound(s) or Group(s) is pasted, including their events and Patterns. Notably, pasting a Sound
into a Sound slot of a different Group will create the needed Patterns if they do not exist, and
replace the events for that Sound slot in an existing Patterns.
In the sentence above, “existing Patterns” means the Patterns with the same IDs (i.e. the same po-
sition in the Pattern List) as in the source Group. Example: If the source Sound contains events in
Pattern 1, 2, and 3 of its Group and you paste that Sound into another Group that only has Pattern
1 and 4, Pattern 2 and 3 will be automatically created to host the events of the pasted Sound.
You can also duplicate a Group in Ideas view and Song view by clicking the Group slot while holding
the [Alt] key (or [Ctrl] key on PC), and dragging the mouse. After the mouse is released a duplicate
copy of the Group is created.
Duplicating Groups on Your Controller

On your controller in Control mode, do the following to copy a Group from one Group button to
another:
1. Press and hold DUPLICATE.
2. If you want to duplicate a Group including its Patterns, enable the +EVENT option (But-
ton 5).
3. Press the Group button of the Group you want to copy.
The Group button starts blinking.

Managing Groups
4. Press the Group button of your target Group (this can also be in another Group bank, in
this case first press Button 3/4 to select the Group bank). If you want to paste the Group
without affecting the existing Groups, press the dim white Group button after the last col-
ored Group button to create the new Group and automatically paste the copied Group
there.
→ All parameters of the Group (all included Sounds, Group effects, Group’s Channel proper-
ties) will be copied (including its Patterns in the Arranger if you have enabled the
+EVENT option). The copied Group will replace the Group previously at that position in
the Group List.
You will notice that once you have pasted the Group, the target Group button starts blinking
itself, indicating that it is ready to be pasted again: Therefore, to duplicate a Group more than
once, once you have pressed the source Group button you just have to press all the desired
target Group buttons in a row.
Instead of holding DUPLICATE, you can also pin the Duplicate mode by pressing DUPLICATE +
Button 1. You can then release DUPLICATE: Your controller will stay in Duplicate mode until you
press DUPLICATE again. See section Pinning a Mode on the Controller for more information.
5.3.7 Reordering Groups

You can reorder Groups via drag-and-drop in the Ideas view or Song view of the software. For
convenience it can be helpful to organize your Groups.
You can select multiple Groups to reorder them all at once! See ↑5.1.3, Selecting Multiple Sounds
or Groups for more information.
Reordering Groups is performed like reordering Sounds:

1. Click and hold the Group.
2. While holding the mouse button, drag your mouse horizontally in Ideas view or vertically
in Song view toward the desired location in the Group List.
⇨ As the mouse cursor moves, an insertion line appears at the potential places where you
can drop the Group.
3. When the insertion line appears at the desired location, release the mouse button.

Managing Groups
→ The Group takes its new place in the Group List. This new place is also mirrored on the
pads of your controller.
5.3.8 Deleting Groups

Deleting a Group will remove it from the Group List.
It is not possible to have a Project without any Groups; attempting to delete the last remaining
Group in a Project will simply reset the Group to the default values.
You can select multiple Groups to delete them all at once! See ↑5.1.3, Selecting Multiple Sounds
or Groups for more information.
► To delete a Group, select it in the Group List and press [Del] on your computer keyboard.
You can also right-click (on macOS: [Ctrl]-click) the Group in the Group List or the Group
name in the top left corner of the Pattern Editor and choose Delete from the context
menu.
→ The Group is removed. All following Group are shifted up in the Group List to fill the gap.
If the last Group bank is empty after the Groups have been shifted, the bank is deleted.

Exporting MASCHINE Objects and Audio
Deleting a Group.
Deleting a Group on Your Controller

On your controller in Control mode, do the following to delete a Group:
► To delete a Group, hold SHIFT + ERASE and press the Group button of the Group you
want to delete.
→ The Group is removed. All following Groups are shifted left to fill the gap.
5.4 Exporting MASCHINE Objects and Audio

This section describes how to save single Groups or whole Projects for use in another MA-
SCHINE installation, and how to export audio from various sources in your Project.
You can also export your Patterns as audio or MIDI files via drag and drop. This is described in sec-
tion ↑11.8.1, Exporting Audio from Patterns and ↑11.8.2, Exporting MIDI from Patterns.

5.4.1 Saving a Group with its Samples

Sometimes it is useful to have the ability to save a Group with its Samples outside of the MA-
SCHINE Library. If you want to take a Group to another studio or if you want to backup or
share a custom drum kit with all the related files, this comes in handy.
To save a Group with its Samples:
1. Right-click (on macOS: [Ctrl]-click) the Group in the Group List left of the Arranger and
select Save with Samples… from the context menu:
You will be presented with the Save Group with Samples panel:
2. In this panel, adjust the settings (see table below) and click Save to confirm or Close to
cancel the operation.

Controls Description
Group Displays the name and location of the Group file to be created.
The Samples will be put in a folder with the same name in the
same location. By default, the Group file inherits the name of
the Group in the Project and it will be saved in the “Groups”
subfolder of your Standard User Directory (as defined in
Preferences > Library > User, see section ↑3.7.4, Preferences –
Default Page for more information). Click the folder icon on the
right to choose another name and/or path.
Delete Unused Files Enable this checkbox to delete unused files, thereby minimizing
the amount of audio data to be exported.
This command is also available from the Group menu opened by right-clicking ([Ctrl]-clicking on
macOS)) the Group name above the Sound List, in the top left corner of the Pattern Editor.
You can also save your whole Project with its Samples. See section ↑5.4.2, Saving a Project with its
Samples.
5.4.2 Saving a Project with its Samples

Sometimes it is useful to have the ability to save all Samples used in your Project outside of
the MASCHINE Library. If you want to take a Project to another studio or if you want to backup
a production with all the related files, this comes in handy.

1. Choose Save Project with Samples… from the File menu or the File submenu in the MA-
SCHINE menu:
You will be presented with the Save Project with Samples panel:
2. In this panel, adjust the settings (see table below) and click Save to confirm or Close to
cancel the operation.

Element Description
Project Displays the name and location of the Project file to be created. The
Samples will be put in a folder with the same name in the same
location. By default, the Project file inherits the name of the Project
and it will be saved in the “Projects” subfolder of your Standard User
Directory (as defined in Preferences > Library > User, see section
↑3.7.4, Preferences – Default Page for more information). Click the
folder icon on the right to select another name and/or path.
Delete Unused Files Enable this checkbox to delete unused files, thereby minimizing the
amount of audio data to be exported.
You can also save single Groups with their Samples. See ↑5.4.1, Saving a Group with its Samples.
5.4.3 Exporting Audio

Use the Export Audio panel in the software to export as your complete arrangement as audio
from the Song view, or render individual Scenes or Sections as audio files in from the Ideas
view.
You can also export the audio of particular Patterns via drag and drop. The audio will be exported
according to the settings described here, except for the exported region, the particular Sound/Group
exported, and the name of the exported audio file. See section ↑11.8.1, Exporting Audio from Pat-
terns for more information.
The Export Audio panel is available from both the Ideas view and Arrangement view. In the
Ideas view the Export Audio panel can be used to export individual Scenes, or all Scenes at
once.
In the Song view, the Export Audio panel can be used to export your complete Project arrange-
ment or individual Sections of the arrangement depending on the Loop range. The exact length
of the exported audio file depends on the Loop Optimize setting in the Option section (see de-
scription below).
The Export Audio panel also contains options that allow you to select the source you want to
export such as the Master, Groups, or Sounds.

To export audio from MASCHINE:

1. Set the Loop Range to the region that you want to export.
2. Choose Export Audio… from the File menu or from the File submenu in the MASCHINE
menu.
You will be presented with the Export Scenes as Audio panel (see picture below).
3. Select the Range and Source and then the destination (see description below).
4. If you wish, adjust the export options in the Options section (see description below).
5. At the bottom of the panel, click Export to start the export process, or Close to cancel the
operation and close the panel without exporting anything.
Export Scenes/Arrangement as Audio Panel

The Export Audio panel allows you to select the source and destination as well as make various
settings for the audio you want to export from the Ideas view or Arrangement view.

The Export Scenes as Audio panel.
The following parameters are available in the Export Audio panel, which is split into three dis-
tinct sections: Source, Options, and Destination.
Source Section
The Source section allows you to define exactly what will be exported.

Element Description
Range Set the range for the audio you want to export. The options here will
differ depending on whether MASCHINE is in Ideas view or Song view.
In Ideas view the following options are available:
All: Select this option to export all Scenes as audio.
Selected: Select this option to export the selected Scene as audio.
In Song view the following options are available:
All: Select this option to export all Sections in the arrangement as
audio.
Loop: Select this option to export the selected Section of the
arrangement as audio.
Source Select what you want to export. The content of the Output list under the
menu depends on your selection in the menu:
Master Output: Select this to export the Master output signal (including
all Groups and Sounds and their effects) to one audio file. The Output
list underneath contains only one entry: Master Output. This entry is
checked and grayed out (you cannot uncheck it).
Group Outputs: Select this to export the output signals of specific
Groups to individual audio files. The Output list underneath shows all
Groups available for exporting. Empty Groups (i.e. Groups containing
only empty Sound slots) are not listed. Click the check boxes of the
desired entries in the list to include/exclude the corresponding Groups.
Only Groups with a check mark will be exported.
Sound Outputs: Select this to export the output signals of specific
Sounds to individual audio files. When this entry is selected, the
Output list underneath shows all Sounds available for exporting. Empty
Sound slots are not listed. The entries are organized as a tree with
Groups at the root and Sounds within each Group. By default all Groups
are collapsed and all Groups and Sounds are checked. Click the little
arrow left of a Group to show/hide its Sounds. Click the check boxes of
the desired entries in the list to include/exclude the corresponding

Element Description
Sounds. Only Sounds with a check mark will be exported. The check
box of Group entries allow to check/uncheck all Sounds of the Group at
once. If some of the Sounds only are checked in a Group, the Group is
“dimmed checked.”
Options Section
The Options section allows you to make settings related to the quality of the audio export.
Element Description
Options
Normalize Check this option to normalize your audio as it is exported, i.e. the
exported audio will be brought to the highest possible level without
clipping (0 dBFS).
Loop Optimize Optimize the audio file for use as a loop:
Check Loop Optimize to keep the exact Loop Range when exporting
audio. Any effect tail will be rendered into the beginning of the audio
file. Additionally, the file metadata will include the tempo (in BPM) and
length (in bars).
Uncheck Loop Optimize to prolong the audio file when exporting audio,
for example, to keep the tail of a reverb. The end of the exported audio
will always correspond to a bar division.
Split By Section Check this option to export audio within the loop braces. If the loop
spans multiple Sections, individual audio files for each Section within
the selected area will be created. Please note, if you only select one
Section and export, you will not gain any advantage by using this
feature.
Type Select the required audio format : uncompressed WAV or AIFF. The
audio format type selected here also affects audio exported using the
Audio Dragger icon available in the Pattern Editor.

Element Description
Sample Rate Select from five different sample rates for the exported audio file(s):
44100 Hz (this is the sample rate of the audio CD format), 48000 Hz,
88200 Hz, 96000 Hz, and 192000 Hz.
Bit Depth Select from three different bit depths (or bit resolutions) for the
exported audio file(s):
16 Bit is the bit depth of the audio CD format.
24 Bit is well suited for mastering.
32 Bit float is the bit depth used internally by MASCHINE’s audio
processing engine. Choose this setting if you plan to further process the
exported audio using other high-end digital audio devices or
applications that support this bit depth. This setting will allow greater
headroom, however, note that the exported files will be significantly
larger.
Destination Section
The Destination section allows you to define where to save your audio and how it is named.
Element Description
Options
Folder Displays the folder on your hard disk where the exported audio file(s)
will be saved. To change the destination folder, click the field and
select the desired folder in the navigation dialog that opens.
Name Displays the name of the destination audio file which by default will
take the name of the Project. Click into the field if you want to rename
the destination file.
Names of the Exported Audio Files

The exported audio files are named according to following rules:
▪ If Master Output is selected in the Output menu the audio file will be named as follows:
[Project name] - [BPM].wav/aiff

Importing Third-Party File Formats
▪ If Group Outputs is selected in the Output menu the audio files will be named as follows:
[Project name] - [Group order number] [Group index (letter + number)] [Group name] -
[BPM].wav/aiff
The Group order number is a two-digit number indicating the “order of appearance” of the
Group in the Group List. This ensures that an alphabetical listing of the exported files will
reflect the structure of your Project.
▪ If Sound Outputs is selected in the Output menu the audio files will be named as follows:
[Project name] - [Sound name] - [BPM].wav/aiff
In addition, if the name of the file about to be exported is already used in the destination folder, a
hyphen followed by an index number is added to the name (e.g., “ - 1,” “ - 2,” “ - 3,”) to avoid any
file being overwritten.
5.5 Importing Third-Party File Formats
5.5.1 Loading REX Files into Sound Slots

MASCHINE supports REX (ReCycle) files to be loaded. REX files are loops that are already
sliced and mapped to MIDI notes.
Only REX2 files are currently supported.
▪ The Samples are loaded into the Sound slot. A new Pattern is created in that Group and
directly loaded in the Pattern Editor (switch the Pattern Editor to Keyboard view to better
see the Pattern — see section ↑11.1.5, Group View and Keyboard View). This Pattern con-
tains the sequence data of the REX file. For each REX file you import a Pattern will be cre-
ated and added.

A REX file loaded in the first Sound slot.
5.5.2 Importing MPC Programs to Groups

MASCHINE allows you to import Drum program files (.PGM and .AKP) from the Akai MPC ser-
ies to Groups. Supported models include the MPC4000, MPC3000, MPC2000, MPC500,
MPC1000 and the MPC2500.
Supported Parameters from MPC Programs

Since MASCHINE has a different approach to handling and naming parameters, please refer to
this list to find out how MPC Program settings are being translated into MASCHINE settings.
MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter

1000, 2500 0 (XL) 0
Sample Name x x x x Sample Name
Play Mode x x − − Playback Type (ADSR,
One-shot, AHD)
Sample Level x x − − Zone Level
Sample Pan − x − − Zone Pan
Range Lower/Higher x x − − High/Low Key
Tuning x x x x Tune
Attack x x x x Attack
Decay x x x x Decay

MPC Parameter MPC500, MPC400 MPC2000 MPC300 MASCHINE Parameter

1000, 2500 0 (XL) 0
Voice Overlap x − x x Polyphony
Filter1 Type x − − − Filter Type
Filter1 Frequency x − x x Filter Cutoff
Filter1 Resonance x − x x Filter Resonance
Filter1 Velocity to x − − − Velocity Cutoff
Frequency
Mixer Level x x x x Track Level
Mixer Pan x − x x Track Pan
Velocity to Level x − − − Velocity to Volume
Mute Group x − − − Choke Group
Importing MPC Program Files

1. To import an MPC Program file, open the Browser in the MASCHINE software and click
the FILES tab.

2. Navigate to the MPC Program file you want to import and double-click it.
You will be prompted with the MPC Import panel:
3. In the Input section of the panel, select one of the import options (see table below).
4. Click OK to start the import procedure (or Cancel to close the panel without importing
anything).

Control Description
Import All Banks Select this to import all Banks of the MPC Program file. Each
Bank will be loaded into a separate Group.
Import One Bank Select this if you only want to import a single Bank. Use the
drop-down menu to the right to select which Bank you want to
import. The list below shows you a preview of the sounds in the
selected MPC Bank.

Playing on the Controller
Adjusting the Pads
6 Playing on the Controller
This chapter describes the numerous features available in MASCHINE to adjust and enhance
your playing, both during live performances and when recording Patterns.
6.1 Adjusting the Pads

You can optimize and fine-tune the way the pads of your controller react to your playing:
▪ Choose a pad mode that best fit your playing needs: ↑6.1.1, The Pad View in the Software.
▪ Adjust the base key to set the pitch of the notes played by your pads: Adjusting the Base
Key.
▪ Set Choke groups to selectively cancel Sounds when other Sounds are triggered: ↑6.1.4,
Using Choke Groups.
▪ Create Link groups to trigger several Sounds by pressing only one pad: ↑6.1.5, Using Link
Groups.
Most of the settings for your pads are available both in the software via the Pad view (see
↑6.1.1, The Pad View in the Software), and on your controller via the Pad Mode (see section
↑6.1.2, Choosing a Pad Input Mode).
6.1.1 The Pad View in the Software

In the software the settings for your pads are available in the Pad view, which is enabled via
the Pad View button above the Sound List in the Pattern Editor:
The Pad View button.
► Click the Pad View button to show or hide the Pad view.

Adjusting the Pads
When the Pad View button is enabled, the Pad view replaces the Sound List below:
The Pad view replaces the Sound List.
At the top of the Pad view, the grid of pads gives you access to all Sound slots of the current
Group. The focused pad is fully lit; other pads containing a Sound are dim lit; pads without
any Sound are off. The following actions are available in the grid:
▪ Click any pad to select the corresponding Sound slot. Upon selection, the parameters un-
derneath, as well as the Control area above are updated accordingly.
▪ Drag and drop a pad to move it to another location in the grid. This is strictly equivalent to
moving Sound slots in the Sound List (see section ↑5.2.7, Moving Sounds).
▪ Right-click ([Ctrl]-click on macOS) any pad to open the same context menu as in the
Sound List — the management commands available in this menu are described in section
↑5.2, Managing Sounds.
You can select multiple pads in the grid of pads as you can in the Sound List, and adjust parame-
ters in the Pad view and in the Control area for all of them simultaneously. For more information on
multiple selection, see section ↑5.1.3, Selecting Multiple Sounds or Groups.
Under the grid of pads, you find following parameters:

Adjusting the Pads
Parameter Description
Key Adjusts the base key for the selected pad. See section Adjusting the
Base Key below.
Choke Configures the Choke Group for the selected pad. See section
↑6.1.4, Using Choke Groups below.
Link Configures Pad Link for the selected pad. See section ↑6.1.5, Using
Link Groups below.
6.1.2 Choosing a Pad Input Mode

By default, your pads play all Sounds of the selected Group — we call this Pad Mode. Further-
more they are velocity sensitive, meaning they will play louder if you hit them harder. You can
change this behavior and choose another pad mode in order to adapt your pads to various sit-
uations.
Using the Controller in Pad Mode

The PAD MODE button located above the pads allows you to switch the controller to Pad
mode. This will map the Sounds contained in your Group to the pads.
To enter Pad mode:
► Press PAD MODE.
The Pad Mode on the controller.

Adjusting the Pads
If your controller is in Pad mode (default mode), the right display contains a mapping matrix
showing the name and color of the Sound played by each pad. You can adjust the base key for
the selected pad by pressing buttons 5-8.
OCTAVE-, OCTAVE+, Adjust the base key for the selected pad. See section Adjusting
SEMITONE-, and the Base Key for details.
SEMITONE+ (Button 5–8)
At the bottom of the left display you can access two Parameter pages for Knob 1–4. To select a
Parameter page, use the Page buttons at the left of the displays.
Page 1
Choke section (Knob 1 and Configures the Choke group for the selected pad. See section
2) ↑6.1.4, Using Choke Groups for more information.
Link section (Knob 3 and 4) Configures the Link group for the selected pad. See section
↑6.1.5, Using Link Groups for more information.
Page 2
Fixed Velocity (Knob 1) Here you can adjust the velocity value used in the Fixed
Velocity mode.
Using 16 Velocities and Fixed Velocity Options

When using the controller in Pad mode, you can apply either of two additional options which
support your playing in specific situations.
▪ The Fixed Velocity option is available when your pads are in Pad mode (default mode) or
Keyboard mode. With this option enabled, your pads play at the same volume no matter
how hard you hit the pads. To enable the Fixed Velocity option, press FIXED VEL. Press
again to disable.
▪ In 16 Velocities mode your pads all play the same note of the focused Sound but with six-
teen different velocity values. This can be useful to play or program complex drum fills.
The right display indicates the velocity values for each pad (all are shown in the color of

Adjusting the Pads
the focused Sound). The pitch of the played note is defined by the base key (see section
Adjusting the Base Key). To enable 16 Velocities mode, press SHIFT + FIXED VEL. Press
again to disable. The 16 Velocities mode is not available in Keyboard mode.
Using Keyboard Mode

The KEYBOARD button located above the pads activates and deactivates Keyboard mode. In
this mode your pads play the focused Sound at sixteen different pitches. This is well suited for
melodic instruments. The right display indicates the pitches played by each pad (all are shown
in the color of the focused Sound).
To activate Keyboard Mode:
1. Select a Sound by pressing the pad it is assigned to.
2. Enter Keyboard Mode by pressing KEYBOARD.
→ If you hit the pads now, they all play the same Sound, but each with a different pitch.
The pitch mapped to each pad is aligned to the scale defined by the Scale TYPE parameter
visible in left display. The scale is divided in semitones, starting with pad 1 as the lowest pitch
going up to pad 16 as the highest pitch. The current scale is indicated on the right display:
Keyboard mode selected on the controller displays in Pad Mode.
See ↑6.4.2, Selecting a Scale and Creating Chords for more information on scales.
Activating Keyboard mode on your controller automatically switches the Pattern Editor to Keyboard
view in the software, and inversely.

Adjusting the Pads
To shift the scale in octaves use Button 5 (octave down) or Button 6 (octave up). You can also
shift the scale in semitones: use Button 7 (semitone down) and Button 8 (semitone up).
Try to experiment with all kinds of Samples in the Keyboard mode; some rather boring sounding
Samples can be really interesting if you play them very low or very high!
If you prefer to play your melodies with a MIDI keyboard, you can connect one to the MIDI IN
socket on the back of your controller. You can also use any USB-MIDI keyboard selected in the
MIDI page of the Preferences panel (see ↑3.7.3, Preferences – MIDI Page). By default the con-
nected MIDI input device will always play the selected Sound without the need to enter Key-
board mode.
The rear side of the MASCHINE MK3 hardware with the MIDI IN and OUT sockets.
Additional Pad Input Modes Chords and Step

You can access additional input modes by pressing the CHORDS and STEP buttons located
above the pads. For more information on Chords mode see ↑6.4.2, Selecting a Scale and Cre-
ating Chords. For more information on Step mode see ↑11.3, Recording Patterns with the Step
Sequencer.
6.1.3 Adjusting the Base Key

In Pad mode, the base key defines the key (or pitch) at which the selected Sound will be
played when its pad is pressed. In Keyboard mode, it defines the key played by pad 1 on your
controller; pads 2–16 will then play keys from [base key + 1 semitone] up to [base key + 15
semitones].

Adjusting the Pads
The base key also affects the pitch of events created via the step sequencer. See section ↑11.3.1,
Step Mode Basics for more information on this.
Adjusting the base key only affects the notes played by the pads of your controller. It does not af-
fect the notes recorded in your Patterns. To adjust the key of notes in Patterns, please refer to sec-
tion ↑5.1.3, Selecting Multiple Sounds or Groups.
You can select multiple pads and quickly change the base key for all of them at once! See section
↑11.4, Editing Events to know how to do this.
Adjusting the Base Key in the Software

By default the base key of every Sound slot is C3 (i.e. middle C in the MASCHINE convention).
To change the base key of the selected pad(s) / Sound slot(s) in the software:
1. Click the Pad View button above the Sound List in the Pattern Editor to show the Pad
view for the focused Group.
2. Click the Key value and drag your mouse vertically, or double-click it, enter a new value
on your computer keyboard, and press [Enter] to confirm.
Adjusting the Base Key on Your Controller

To change the base key of the selected pad(s) / Sound slot(s) on your controller:
1. Hold the PAD MODE button to enter Pad Mode.
On the right display, the key indicated for pad 1 (in the bottom left corner) is the current
base key.
2. Press Button 5 (OCT-) / 6 (OCT+) to adjust the base key by octaves, or Button 7 (SEMI-) /
8 (SEMI+) to adjust the base key by semitones.
The new values are indicated for all pads on the right display.
3. Release PAD MODE (or press it again if you pinned the mode).

Adjusting the Pads
6.1.4 Using Choke Groups

When your pads are in Pad Mode, Choke groups allow you to build sets of “mutually exclusive”
pads: A Choke group lets you force each newly triggered Sound to cancel out all other Sounds
still playing — in other terms, these Sounds would never play together, the newer Sound auto-
matically “killing” the audio of the older one. This is a behavior you can find in vintage drum
machines (typically used to “choke” the open hi-hat with the closed one), but also in mono-
phonic synthesizers that are only capable of playing one note at a time.
Within a Group, each pad can be assigned to one of eight Choke groups. When you assign a
pad to a Choke group, the pad may be set as a Master or Slave in the Choke group:
▪ If the pad is set to Master (default setting) it will kill the Sounds of other pads in the same
Choke group.
▪ If the pad is set to Slave it won’t kill any other pad of the Choke group — but be killed by
pads set to Master within the same group.
You may set more than one pad as Master or Slave within the same group.
Choke groups affect not only the notes you play on the pads and the notes triggered by the Patterns,
but also the MIDI notes controlling your Sounds.
You can select multiple Sounds and quickly assign them all to a particular Choke group at once!
To assign the selected Sound slot(s) to a Choke group and set its/their Choke mode (Master or
Slave), do the following:
2. In the Choke section click the Group value and select the desired group 1–8 from the list
or choose None (default setting) to remove the Sound from its current Choke group.
3. In the same Choke section click the Mode value (Master or Slave) to switch the Sound
between Master (default setting) and Slave mode.
4. Repeat the steps above to assign other pads to the same Choke group.

Adjusting the Pads
The Hi-hat is an ideal candidate for making use of Choke groups! See ↑9.4.3, Hi-hat – Memory for
more details!
Adjusting the Choke Multiple Sounds with different Choke Values

► Click the MULTI label next to Choke and select the desired value from the list to set all
selected Sounds to that same Choke group. This also applies to the Master/Slave setting
next to it.
Sound slots 1 to 4 are selected. If they have different Choke values, a MULTI label appears (left). When you click it and
select a new Choke from the list (middle), this new group is applied to all selected Sounds.
This is also true when adjusting the parameter from your controller.
To assign the selected pad(s) / Sound slot(s) to a Choke group and set its/their Choke mode on
your controller:
1. Hold the PAD MODE button to enter Pad Mode.
2. If necessary, press the Page Left button to switch to the first Parameter page of the Pad
Mode.
3. Turn Knob 1 (CHOKE GROUP) to select the desired Choke group 1–8 for that pad or
choose NONE (default setting) to remove the pad from its current Choke group.

Adjusting the Pads
4. Turn Knob 2 (CHOKE MODE) to select the Choke mode from MASTER (default setting) or
SLAVE for that pad.
6.1.5 Using Link Groups

When your pads are in Pad Mode, Link groups allow you to link pads with each other: this can
be used to trigger multiple Sounds when pressing only one pad. Each pad of a Group can be
assigned to one of eight Link groups. A pad may be set as a Master or Slave in the Link group:
▪ If the pad is set to Master (default setting) it will trigger other pads in the same Link group.
▪ If the pad is set to Slave it will only trigger its own Sound, even if it is part of a Link group
— but be triggered by pads set to Master within the same group.
You may set more than one pad as Master or Slave within the same group.
Link groups affect not only the notes you play on the pads and the notes triggered by the Patterns,
but also the MIDI notes controlling your Sounds.
Link groups are a “live” feature: They only affect the note triggers. In Record mode, Link groups
don’t affect the notes recorded in your Patterns — in other terms notes won’t be recorded for the
linked pads! Notably, this allow you to modify your Link group assignments after recording. If you
want to copy the notes from a Sound to another Sound in Patterns, please refer to section ↑11.4,
Editing Events.
You can select multiple Sound slots and quickly assign them all to a particular Link group at once!
To assign the selected Sound(s) to a Link group and set its/their Link mode (Master or Slave),
do the following:
2. In the Link section click the Group value and select the desired group 1–8 from the list or
choose None (default setting) to remove the Sound from its current Link group.

Adjusting the Pads
3. In the same Link section click the Mode value (Master or Slave) to switch the Sound be-
tween Master (default setting) and Slave mode.
A Link group makes sense only if more than one pad/Sound are assigned to it!
Adjusting the Link Parameter for Multiple Sounds with different Link Values
► Click the MULTI label next to Link and select the desired value from the list to set all
selected Sounds to that same Link group. This also applies to the Master/Slave setting
next to it.
select a new Choke or Link group from the list (middle), this new group is applied to all selected Sounds.
To assign the selected pad(s) / Sound slot(s) to a Link group and set its/their Link mode on
your controller:
1. Hold the PAD MODE button to enter Pad Mode (or press PAD MODE + Button 1 to pin it).
2. If necessary, press the Page Left button to switch to the first Parameter page of the Pad
Mode.

Adjusting the Key, Choke, and Link Parameters for Multiple Sounds
3. Turn Knob 3 (LINK GROUP) to select the desired Link group 1–8 for that pad or choose
NONE (default setting) to remove the pad from its current Link group.
4. Turn Knob 4 (LINK MODE) to select the Link mode from MASTER (default setting) or
SLAVE for that pad.
6.2 Adjusting the Key, Choke, and Link Parameters for Multiple Sounds
In the software, if you select multiple Sounds with different Key, Choke and/or Link values, the
corresponding parameters in Pad view now display MULTI. On your controller in Pad Mode, the
corresponding parameters now display (MULTI).
Moreover, you can adjust these parameters for the selected Sounds as described below.
Adjusting the Key Parameter for Multiple Sounds with different Key Values
► Click and drag the MULTI label next to Key to transpose the base key of all selected
Sounds. While dragging, the field displays a +/-x value indicating the transposition that
will apply to all Sounds as you release the mouse button.
Sound slots 1 to 4 are selected. If they have different Key values, a MULTI label appears (left). When you drag it (middle), a
transpose value appears (right) that will be applied to all selected Sounds when you will release the mouse button.

Playing Tools
Adjusting the Choke or Link Parameter for Multiple Sounds with different Choke or Link Values
► Click the MULTI label next to Choke or Link and select the desired value from the list to
set all selected Sounds to that same Choke or Link group, respectively. This also applies
to the Master/Slave setting next to it.
select a new Choke or Link group from the list (middle), this new group is applied to all selected Sounds.
6.3 Playing Tools

On top of the various pad settings described in the previous section (see ↑6.1, Adjusting the
Pads), MASCHINE also offers you a series of intuitive playing tools particularly useful when
playing live:
▪ Mute and Solo allow you to selectively mute and solo Sounds and Groups: ↑6.3.1, Mute
and Solo.
▪ Choke All Notes allow you to cut all playing audio: ↑6.3.2, Choke All Notes.
▪ Groove allows you to give a shuffling flair to individual Sounds/Groups or to your entire
Project: ↑6.3.3, Groove.

Playing Tools
▪ Hardware Shortcuts give you a quick access to the most important parameters of each chan-
nel (Sound, Group, and Master): ↑6.3.4, Level, Tempo, Tune, and Groove Shortcuts on
Your Controller.
6.3.1 Mute and Solo

Muting is used to silence a Sound or a Group, whereas Solo is pretty much the opposite: Solo-
ing a Sound or a Group mutes all other Sounds in that Group or all other Groups, respectively,
so that you can listen to the selected Sound or Group alone. The combination of both is a use-
ful means to play live and to test different sequences together.
When used on Sounds, the Solo only applies to the current Group: The Sounds in other Groups
won’t be affected.
We describe here how to mute/solo Groups and Sounds in the Arrange view of the software, but you
can also do this from Mix view via the Mute button available in each channel strip of the Mixer! See
section ↑13.2.5, Adjusting Settings in the Channel Strips for more information.
Audio Mute vs. Event Mute

At the Group level, the Mute function is an audio mute: The whole audio output of the muted
Group will be bypassed. At the Sound level, the Mute function is by default a trigger mute: the
Pattern content (the events) for the muted Sound will not be triggered — but any audio re-
maining from past events for this Sound will still be audible until it fades away. You can
change this behavior by enabling the Audio Mute button in the Audio page of the Sound’s Out-
put properties (see section ↑12.1.2, Configuring the Main Output of Sounds and Groups) as
well as in Solo and Mute mode on your controller: Activating the audio mute for Sounds will
ensure that not only the events are muted, but any remaining audio as well.
To momentarily mute all audio from all Sounds and Groups at once, please refer to section ↑6.3.2,
Choke All Notes.
Mute and Solo in the Software
Soloing a Sound
1. To solo a Sound, right-click (on macOS: [Ctrl]-click) the number on the left side of the
Sound slot in the Pattern Editor.

Playing Tools
Soloing the first kick Sound.
2. To unsolo a Sound, right-click (on macOS: [Ctrl]-click) the number again.
Soloing a Group
1. To solo a Group, right-click (on macOS: [Ctrl]-click) the Group index (letter + number) on
the left side of the Group in the Arranger:
Soloing a Group.
2. To unsolo a Group, right-click (on macOS: [Ctrl]-click) the Group index again.
Muting a Sound
1. To mute a Sound, click the number on the left side of the Sound slot in the Pattern Edi-
tor.

Playing Tools
Muting a Sound.
2. To unmute the Sound, click the number again.
By default, the Mute on Sounds is an event mute: events for muted Sounds are not triggered, but
the audio coming from previous events might still be audible (reverb tail, etc.). You can also acti-
vate audio mute for Sounds to mute both events and audio — see the beginning of this section for
more information.
Muting a Group
1. To mute a Group, click the Group index (letter + number) on the left side of the Group in
the Arranger:
Muting a Group.
2. To unmute the Group, click the Group index again.
Mute and Solo on Your Controller

To enter solo mode on your controller:

Playing Tools
The Solo mode on the controller.
1. Press and hold SOLO to enter Solo mode. You can also press SOLO + Button 1 to pin this
mode and make it permanent.
2. Solo Sounds by pressing their pads, and solo Groups of the current Group bank by press-
ing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group bank,
respectively.
To enter mute mode on your controller:
The Mute mode on the controller.
1. Press and hold MUTE to enter Mute mode. You can also press MUTE + Button 1 to pin
this mode and make it permanent.
2. Mute Sounds by pressing their pads, and mute Groups of the current Group bank by
pressing their Group buttons. Press Button 3 and 4 to switch to the previous/next Group
bank, respectively.
In both Solo and Mute modes you will note the following:

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▪ On your controller, the unmuted pads and Group buttons are fully lit, while the muted ones
are dim lit (and the empty ones are off).
▪ On the displays, the unmuted Sounds and Groups are highlighted while the muted ones are
not (and the empty ones are… empty).
In both modes the displays provide a few more functions:
▪ ALL ON (Button 5) turns all Sounds on in the selected Group.
▪ NONE (Button 6) turns all Sounds off in the selected Group.
▪ When holding Button 8 (AUDIO) you can see on the pads which Sounds have audio mute
enabled (see above): Sounds with audio mute enabled have fully lit pads, while Sounds
with only event mute have dim lit pads. This is also indicated on the right display (Sounds
with audio mute are highlighted). While holding Button 8 (AUDIO), press any pad to switch
the audio mute for this Sound on or off.
Enabling/disabling audio mute for a Sound does not mute/unmute it! It only sets this Sound to get
both its events and its audio muted when you will mute it via the usual way (pressing MUTE + its
pad).
Since soloing a Sound mutes all Sounds except one, the MUTE button can then be used to “re-
lease” Sounds that have been muted. You can use this technique to create a breakdown: Solo a giv-
en Sound such as a kick drum, then build the track up again by bringing the muted Sounds back in
one at a time while holding the MUTE button.
6.3.2 Choke All Notes

The Choke All Notes feature allows you to kill any note or event currently playing in your
Project. This affects the audio coming from all Plug-ins (Internal, Native Instruments, and Ex-
ternal).
Choke All Notes is only available on your controller:
► Press SHIFT + MUTE to choke all playing notes.
Choke All Notes can be useful in various situations:
▪ as a creative tool in a live performance, e.g., to create stutter beaks

Playing Tools
▪ as a workflow aid, to stop long one-shot Samples that continue playing after you have stop-
ped the sequencer
▪ as a first panic button, if you are not sure where in your Project a particular sound is com-
ing from, and you want to get rid of it.
Contrary to the Mute function, Choke All Notes is not turning any Group/Sound into another state.
Instead, all audio voices currently playing are instantaneously killed. The killed voices cannot be re-
activated and are freed up for subsequent notes according to the polyphony setting. Voices triggered
by subsequent notes will play normally.
6.3.3 Groove
The groove controls the rhythmic relationship between events in the selected channel (Sound,
Group or Master). By shifting some of the events, you can e.g. give a shuffling, ternary touch to
your Patterns.
The groove can be adjusted for each channel individually via its Groove properties.
A groove configured for a channel affects all its contained channels:
▪ At the Sound level, the Groove properties settings of a Sound affect that single Sound.
▪ At the Group level, the Groove properties settings of a Group affect all Sounds of the
Group. The Group’s swing is added to the groove set for each individual Sound via its own
Groove properties.
▪ At the Master level, the Groove properties affect all Sounds of all Groups. The Master’s
swing is added to the groove set for each individual Group and Sound via their own Groove
properties.
The Groove properties have a single Parameter page: Swing.
Please refer to section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the
Control Area to know how to display and navigate sets of Channel properties.

Playing Tools
The Groove properties for a Sound in the software.
The Groove properties for a Sound on the controller.
SWING Section
Amount Adjusts the amount of swing, i.e. the amount by which some
events are shifted. At 0 % events are not shifted. Raise the
Amount value to increase the strength of the swing.
Cycle Determines on what musical resolution the groove is applied.
This directly affects which events will be shifted. Values are
measured in fractions of a whole note.
Invert Allows you to invert the groove so that instead of being delayed
in the Pattern events will be triggered ahead of time.
How Groove Affects the Rhythm: An Example

Take a simple, regular one-bar rhythm with a hit on each eighth note. We set the Cycle param-
eter to 1/2, which is one half note, that is two beats.

Playing Tools
The following picture shows you how this rhythm would sound with the following settings:
▪ Top: Amount at 0.0 % (no groove).
▪ Middle: Amount at 100.0 % and Invert off.
▪ Bottom: Amount at 100.0 % and Invert enabled.
This is how the same regular rhythm would be heard with various groove settings.
The picture above only illustrates how the groove function affects the sound — adjusting the Groove
properties will not effectively move events in the Patterns displayed in the Pattern Editor!
6.3.4 Level, Tempo, Tune, and Groove Shortcuts on Your Controller

Your controller provides extra shortcuts for various important parameters. Most of these param-
eters are already available in the Channel properties of the Sounds, Groups, and Master. The
shortcuts detailed here give you an additional quick access to them — especially useful during
live performance.
You can quickly alter the output level, the tempo, and the swing (groove) of the Master as well
as the output level, the tune, and the swing of any Group or Sound via the MASTER section on
your controller.
In Step mode you can also use shortcuts to adjust the Velocity, Position or Tune of a selected
step.

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Volume and Velocity Shortcuts
The VOLUME button.
In Pad Mode, Keyboard mode or Chords mode:

1. Press the VOLUME [Velocity] button.
2. To change the output level of the Master (i.e. the overall output level of MASCHINE), sim-
ply turn the 4-D encoder.
3. To change the output level of a Group, hold its Group button (first navigate to its Group
bank if necessary) and turn the 4-D encoder.
4. To change the output level of an individual Sound, hold its pad and turn the 4-D encoder.
In Step mode:
► To change the velocity of a selected step in Step mode, hold its pad and turn the 4-D en-
coder.
→ The adjusted value is temporarily shown on the left display.
To adjust the value in finer increments, press and turn the 4-D encoder (or hold SHIFT while you
turn it).
These shortcuts control the LEVEL parameter in the AUDIO page of the Master’s, Group’s, and
Sound’s Output properties, respectively. See section ↑12.1.2, Configuring the Main Output of
Sounds and Groups and ↑12.1.4, Configuring the Master and Cue Outputs of MASCHINE for a de-
tailed description of these properties.

Playing Tools
In the software you can also adjust the output level of the Master via the Master Volume slider
in the Header:
The Master Volume slider in the software’s Header.
To reset the output level of the Master to 0 dB, double-click the Master Volume slider.
Swing and Position Shortcuts
The SWING button.

1. Press SWING [Position] button.
2. To change the groove of the Master, simply turn the 4-D encoder.
3. To change the groove of a Group, hold its Group button (first navigate to its Group bank if
necessary) and turn the 4-D encoder.
4. To change the groove of an individual Sound, hold its pad (or hold SELECT + its pad if
pads are in Keyboard mode) and turn the 4-D encoder. In Keyboard mode you can also
press SELECT + the pad of the desired Sound, then hold any pad (i.e. any pitch of that
Sound) and turn the 4-D encoder.
In Step mode:

Playing Tools
► To change the position of a selected step in Step mode, hold its pad and turn the 4-D en-
coder.
turn it).
These shortcuts control the AMOUNT parameter in the SWING page of the Master’s, Group’s, and
Sound’s Groove properties, respectively. See section ↑6.3.3, Groove for a detailed description of
these properties.
In the software you can also adjust the Swing amount of your Project via the SWING control in
the Header:
The SWING control in the software’s Header.
Tempo and Tune Shortcuts
The TEMPO button.

1. Press TEMPO [Tune] button.

Playing Tools
2. To change the tempo of the Master (i.e. the tempo of your Project), simply turn the 4-
D encoder.
3. To change the tune of all Sounds in a Group, hold the desired Group button (first navigate
to its Group bank if necessary) and turn the 4-D encoder.
4. To change the tune of an individual Sound, hold its pad and turn the 4-D encoder.
In Step mode:
► To change the tune of a selected step in Step mode, hold its pad and turn the 4-D encod-
er.
turn it).
At the Master level, the shortcut controls the Tempo parameter in the Header:
The Tempo parameter in the software’s Header.
At the Group and Sound level, the shortcut works only with Sounds containing a Sampler or a
Drumsynth Plug-in. The shortcuts control the TUNE parameter of the PITCH / GATE section in the
PITCH / ENVELOPE page of the Sampler, and the TUNE parameter of the MAIN section in the
MAIN page of any Drumsynth. If you hold a Group button, the shortcut will affect all Sounds of the
Group that contain a Sampler or Drumsynth Plug-in. For more details on the TUNE parameter,
please refer to section ↑9.1.5, Pitch Range, Tuning, and MIDI Notes for the Sampler and section
↑7.2.1, Page 1: Voice Settings / Engine for the Drumsynths.
6.3.5 Tap Tempo

You can quickly define the tempo of your Project via the TAP button in the Transport section of
the controller:
► Repeatedly tap the TAP button to set the desired tempo.
You can also use the TEMPO button to adjust the current tempo:

Performance Features
► Press the TEMPO button and turn the Encoder to quickly adjust the tempo of your
Project.
Press and turn the Encoder (or hold SHIFT while you turn it) to adjust the value in finer increments
when the TEMPO button is enabled.
These shortcuts control the Tempo parameter of MASCHINE. In the software this parameter is
available in the Header:
The Tempo parameter in the software’s Header.
6.4 Performance Features

The Performance features of MASCHINE are inspired by similar features available in KOM-
PLETE KONTROL and on the KOMPLETE KONTROL S-SERIES keyboards. This tight integra-
tion offers a familiar and seamless workflow.
6.4.1 Overview of the Perform Features

The Perform features include the following engines:
▪ The Scale and Chords engine allows you to assign the pads to notes within specific scales,
and to play chords according to the selected scale by hitting single pads.
▪ The Arp engine allows you to create arpeggios based on the pads you press or the chord cur-
rently triggered.
Designed to enrich the melodic content of your Projects, these engines are available when your
pads are in Keyboard mode. Furthermore, they are designed to be used live and, as such, they
are available only from your hardware controller (like Note Repeat).
When your pads are in Pad Mode, you can use the Note Repeat engine, Choke groups, and
Link groups as in previous MASCHINE versions.

The Control Signal Flow—Pads in Keyboard Mode

The following diagram illustrates MASCHINE s signal flow between your hits on the pads in
Keyboard mode and the resulting sounds:
The signal flow including the new Perform features (Scale, Chord, and Arp) when your pads are in Keyboard mode.
In this picture, blue cells represent modules sending “control” signals, i.e. triggering messages
(e.g., the note messages sent by the pads as you press them), whereas red cells represent
modules sending audio signals (e.g., the sounds produced by the Instrument loaded in the
Sound slot as it receives the aforementioned note messages).
In this diagram you will notice the following:
▪ The Scale and Chord modules can feed the Arp module, the Scale module can also affect
the Chord module, as we will see later.
▪ The notes played on your pads are first sent to the Perform features (Scale, Chord, and Arp
engines), which send the resulting notes to the Pattern Editor. In other terms, you can re-
cord the generated scales, chords or arpeggiated notes into your Patterns. However, the
Perform features do not process the content of your Patterns.

The Control Signal Flow—Pads in Pad Mode

The following diagram illustrates signal flow between your hits on the pads in Pad Mode and
the resulting sounds:
The signal flow including the Perform features (Note Repeat, Choke Group, and Link Group) when your pads are in Pad
Mode.
In this picture you will notice the following:

▪ Note Repeat takes the place of the Scale, Chord, and Arp modules between the live input
on the pads and the Pattern Editor. In other terms, Note Repeat won’t process your Pat-
terns but you can record its output into a Pattern.
▪ The Choke Group and Link Group modules affect both your hits on the pads and the con-
tent of your Patterns, but their result cannot be recorded into Patterns.

6.4.2 Selecting a Scale and Creating Chords

MASCHINE comes equipped with a vast amount of scales and chords that you can select and
use to play your Sounds. This opens up possibilities to play an instrument such as a piano ac-
cording to, e.g., the minor pentatonic scale without hitting a “false” pad (note) on your control-
ler, or to play chords that always fit by hitting single pads.
The Scale and Chord engine is available only when your pads are in Keyboard mode.
This section provides a hands-on introduction to the use of scales and chords from your con-
troller. The corresponding parameters will be described in detail in section ↑6.4.3, Scale and
Chord Parameters.
6.4.3 Scale and Chord Parameters

This section describes the Scale and Chord engine and its parameters, and provides a list of all
scales and chords available on your controller.
General Notes on Scales and Chords

▪ The Scale and Chord parameters are the same for all Sound slots in a particular Group, you
can have different Scale and Chord parameters for each Group. The Scale and Chord pa-
rameters of each Group are saved with the Project. However, when you save a Group the
Scale and Chord parameters are not saved with the Group.
▪ The Scale and Chord engine processes live input from the pads of your controller only. In-
put from third-party MIDI controllers and data recorded in the Pattern Editor are not proc-
essed by the Scale and Chord engine.
KOMPLETE KONTROL S-SERIES owners: Input from your KOMPLETE KONTROL S-SERIES key-
board can also be processed by the Scale and Chord engine. This is described in section Using the
Perform Features.
▪ The output of the Scale and Chord engine is recorded into the Pattern Editor.
▪ The Scale and Chord parameters cannot be modulated nor automated in MASCHINE.

▪ Of course, if a Sound slot contains a KOMPLETE instrument providing control notes (e.g.,
key switches) on particular keys, these notes will not be triggered by the Scale and Chord
engine.
Available Scales
The Scale engine is controlled via two parameters:
▪ Root Note (C3 by default): Defines both the root note of the scale and the particular key
triggered by pad 1. As a direct consequence, pad 1 always triggers the root note of the se-
lected scale.
The Root Note parameter replaces the Base Key parameter found in the Keyboard mode of previous
MASCHINE versions and still available in Pad Mode. Although the Root Note is edited in the same
way as the Base Key on your controller, keep in mind that both are independent of each other. Com-
pared to the Base Key, the Root Note additionally defines the starting note of the selected scale.
Furthermore, like all Scale and Chord parameters, the Root Note is common to all Sound slots in
the Group, whereas the Base Key is set for each Sound slot independently.
▪ Scale Type (Chromatic by default): Selects the scale pattern whose notes will be mapped
onto the pads of your controller: The Root Note is on pad 1, the 2nd note of the selected
Scale Type is on pad 2, etc. Once all notes are mapped, the next pad triggers the root note
in the next octave. The Root Note and its octaves are indicated by fully lit pads, while other
pads are dimmed.
Following scale types are available:

Main Scales
Scale Bank Type Degree Formula
Chromatic Main Chrom 1 ♭2 2 ♭3 3 4 ♭5 5 ♭6 6 ♭7 7
Major Main Major 1234567
Minor Main Minor 1 2 ♭3 4 5 ♭6 ♭7
Harm Min Main Harm Min 1 2 ♭3 4 5 ♭6 7
Maj Pent Main Maj Pent 12356
Min Pent Main Min Pent 1 ♭3 4 5 ♭7
Blues Main Blues 1 ♭3 4 ♯4 5 ♭7
Japanese Main Japanese 1 2 ♭3 5 ♭6
Freygish Main Freygish 1 ♭2 3 4 5 ♭6 ♭7
Gypsy Main Gypsy 1 2 ♭3 ♯4 5 ♭6 7
Arabic Main Arabic 1 ♭2 3 4 5 ♭6 7
Altered Main Altered 1 ♭2 ♯2 3 ♯4 ♭6 ♭7
Whole Tone Main WH Tone 1 2 3 ♯4 ♯5 ♭7
H-W Dim Main H-W Dim 1 ♭2 ♯2 3 ♯4 5 6 ♭7
W-H Dim Main W-H Dim 1 2 ♭3 4 ♯4 ♯5 6 7

Modes Scales:
Ionian Modes Ionian 1234567
Dorian Modes Dorian 1 2 ♭3 4 5 6 ♭7
Phrygian Modes Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7
Lydian Modes Lydian 1 2 3 ♯4 5 6 7
Mixolydian Modes Mixolyd 1 2 3 4 5 6 ♭7
Aeolian Modes Aeolian 1 2 ♭3 4 5 ♭6 ♭7
Locrian Modes Locrian 1 ♭2 ♭3 4 ♭5 ♭6 ♭7
Ionian b2 Modes Ion b2 1 ♭2 3 4 5 6 7
Dorian b5 Modes Dor b5 1 2 ♭3 4 ♭5 6 ♭7
Harm Phryg Modes Har Phry 1 ♭2 ♭3 4 5 ♭6 7
Phryg Major Modes Phry Maj 1 ♭2 ♭3 4 5 6 7
Lydian b3 Modes Lyd b3 1 2 ♭3 ♯4 5 6 7
Major Locrian Modes Maj Loc 1 2 3 4 ♭5 ♭6 ♭7
Minor Locrian Modes Min Loc 1 2 ♭3 4 ♭5 ♭6 ♭7
Super Locrian Modes Sup Loc 1 ♭2 ♭3 ♭4 ♭5 ♭6 ♭7

Jazz Scales
Lydian ♭7 Jazz Lyd ♭7 1 2 3 ♯4 5 6 ♭7
Altered Jazz Altered 1 ♭2 ♯2 3 ♯4 ♭6 ♭7
Diminished Jazz Diminshd 1 ♭2 ♯2 3 ♯4 5 6 ♭7
Mixo b13 Jazz Mix b13 1 2 3 4 5 ♭6 ♭7
Mixo b9 b13 Jazz Mixb9b13 1 ♭2 3 4 5 ♭6 ♭7
Lydian ♭7 b2 Jazz Lyd ♭7b2 1 ♭2 3 ♯4 5 6 ♭7
Bebop Jazz Bebop 1 2 3 4 5 6 ♭7 7
Whole Tone Jazz Whole Tn 1 2 3 ♯4 ♯5 ♭7
Blues Maj Jazz Blues Ma 1 2 ♭3 3 5 6
Blues Min Jazz Blues Mi 1 ♭3 4 ♯4 5 ♭7
Blues Combined Jazz BluesCmb 1 2 ♭3 3 4 ♯4 5 6 ♭7
Lydian #5 Jazz Lyd #5 1 2 3 ♯4 ♯5 6 7
Jazz Minor Jazz Jazz Mi 1 2 ♭3 4 5 6 7
Half Dim Jazz Half Dim 1 2 ♭3 4 ♭5 ♭6 ♭7
Augmented Jazz Augmentd 1 ♭3 3 5 ♯5 7

World Scales
Hungarian Min World Hung Min 1 2 ♭3 ♯4 5 ♭6 7
Hungarian Maj World Hung Maj 1 ♯2 3 ♯4 5 6 ♭7
Neapolitan World Neapoltn 1 ♭2 ♭3 4 5 ♭6 7
Spanish World Spanish 1 ♭2 ♭3 3 4 5 ♭6 ♭7
Greek World Greek 1 2 ♭3 ♭4 5 ♭6 ♭7
Jewish 1 World Jewish 1 1 ♭2 3 4 5 ♭6 ♭7
Jewish 2 World Jewish 2 1 2 ♭3 ♯4 5 6 ♭7
Indian 1 World Indian 1 1 ♭2 ♭3 ♯4 5 ♭6 7
Indian 2 World Indian 2 1 2 ♭3 ♯4 5 6 7
Indian 3 World Indian 3 1 ♭2 2 4 5 ♭6 6
Indian 4 World Indian 4 1 ♯2 3 4 5 ♯6 7
Mid East 1 World M East 1 1 ♭2 3 4 5 ♭6 7
Mid East 2 World M East 2 1 ♭2 3 4 ♭5 ♭6 7
Mid East 3 World M East 3 1 ♭2 ♭3 4 ♭5 6 ♭7
Mid East 4 World M East 4 1 ♭2 3 4 ♭5 6 ♭7

5-Tone Scales
Penta I 5-Tone Pent I 12356
Penta II 5-Tone Pent II 1 2 4 5 ♭7
Penta III 5-Tone Pent III 1 ♭3 4 ♭6 ♭7
Penta IV 5-Tone Pent IV 12456
Penta V 5-Tone Pent V 1 ♭3 4 5 ♭7
Hirajoshi 5-Tone Hira 1 2 ♭3 5 b6
Insen 5-Tone Insen 1 ♭2 4 5 ♭7
Kokin Joshi 5-Tone Kokin 1 2 4 5 b6
Akebono 5-Tone Akebono 1 2 ♭3 5 6
Ryukuan 5-Tone Ryukuan 13457
Abhogi 5-Tone Abhogi 1 2 ♭3 4 6
Bhupkali 5-Tone Bhupkali 1 2 3 5 b6
Hindolam 5-Tone Hindolam 1 ♭3 4 ♭6 ♭7
Bhupalam 5-Tone Bhupalam 1 ♭2 ♭3 5 b6
Amritavarshini 5-Tone Amrita 1 3 ♯4 5 7

Modern Scales
Octatonic Modern Octatonc 1 2 ♭3 4 ♯4 ♯5 6 7
Acoustic Modern Acoustic 1 2 3 ♯4 5 6 ♭7
Augmented Modern Augmentd 1 ♭3 3 5 ♯5 7
Tritone Modern Tritone 1 ♭2 3 ♭5 5 ♭7
Leading Wh Tone Modern Lead Wh 1 2 3 ♯4 ♯5 ♯6 7
Enigmatic Modern Enigmatc 1 ♭2 3 ♯4 ♯5 ♯6 7
Scriabin Modern Scriabin 1 2 3 ♯4 6 ♭7
Tcherepnin Modern Tcherepn 1 ♯1 ♯2 3 4 5 ♯5 6 7
Messiaen I Modern Mes I 1 2 3 ♯4 ♯5 #6
Messiaen II Modern Mes II 1 ♭2 ♯2 3 ♯4 5 6 ♭7
Messiaen III Modern Mes III 1 2 ♭3 3 ♯4 5 ♭6 ♭7 7
Messiaen IV Modern Mes IV 1 ♭2 2 4 ♯4 5 ♭6 7
Messiaen V Modern Mes V 1 ♭2 4 ♯4 5 7
Messiaen VI Modern Mes VI 1 2 3 4 ♯4 ♯5 ♯6 7
Messiaen VII Modern Mes VII 1 ♭2 2 ♭3 4 ♯4 5 ♭6 6 7

Major Scales
Natural Major Natural 1234567
Lydian Major Lydian 1 2 3 ♯4 5 6 7
Mixolydian Major Mixolyd 1 2 3 4 5 6 ♭7
Major Minor Major Maj Min 1 2 3 4 5 ♭6 ♭7
Harmonic Major Major Har Maj 1 2 3 4 5 ♭6 7
Dbl Har Major Major Dbl Maj 1 ♭2 3 4 5 ♭6 7
Neapolitan Maj Major Nea Maj 1 ♭2 3 4 5 6 7
Major Locrian Major Maj Loc 1 2 3 4 ♭5 ♭6 ♭7
Blues Major Major Blues Ma 1 2 ♭3 3 5 6
Bebop Major Major Bebop Ma 1 2 3 4 5 ♯5 6 7
Hexa 1 Major Hexa 1 123567
Hexa 2 Major Hexa 2 123456
Penta 1 Major Penta 1 12356

Minor Scales
Natural Minor Natural 1 2 ♭3 4 5 ♭6 ♭7
Dorian Minor Dorian 1 2 ♭3 4 5 6 ♭7
Phrygian Minor Phrygian 1 ♭2 ♭3 4 5 ♭6 ♭7
Minor Major Minor Min Maj 1 2 ♭3 4 5 6 7
Harmonic Minor Minor Har Min 1 2 ♭3 4 5 ♭6 7
Dbl Har Minor Minor Dbl Min 1 2 ♭3 ♯4 5 ♭6 7
Neapolitan Min Minor Nea Min 1 ♭2 ♭3 4 5 ♭6 7
Minor Locrian Minor Min Loc 1 2 ♭3 4 ♭5 ♭6 ♭7
Blues Min Minor Blues Mi 1 ♭3 4 ♯4 5 ♭7
Bebop Minor Minor Bebop Mi 1 2 ♭3 4 5 ♭6 ♭7 7
Hexa 1 Minor Hexa 1 1 2 ♭3 5 ♭6 ♭7
Hexa 2 Minor Hexa 2 1 2 ♭3 4 5 b6
Penta 1 Minor Penta 1 1 2 ♭3 5 b6
Penta 2 Minor Penta 2 1 ♭3 4 5 ♭7
Penta 3 Minor Penta 3 1 ♭3 5 ♭6 ♭7
By default, the Chromatic scale is selected — in other terms, by default your pads play every
semitone, however, the last selected Scale is automatically assigned when a new Group is cre-
ated.
The Scale Type parameter is not available if the Chord Mode parameter is set to Chord Set.

Available Chords
The Chord engine can automatically generate chords depending on the pad you hit and possi-
bly the selected scale. The Chord engine is controlled via two parameters:
▪ Chord Mode (Off by default): Selects from three different modes for generating chords:
◦ Off: No chords will be generated. Only the notes corresponding to the pads that you hit
will be played.
◦ Harmonizer: Generates chords based on the pads you hit and using notes from the se-
lected scale, as specified by the Root Note and Scale Type parameters (see above).
Use the Chord Type parameter to choose the particular notes to be used in the chord
(see below). As the chord is triggered, pads of all included notes flash.
◦ Chord Set: This special mode maps a set of chords onto the first 12 pads of your con-
troller. These chords are not bound to any scale type, they are only affected by the se-
lected Root Note. Use the Chord Type parameter to choose a particular set of chords
to be mapped onto the pads (see below). In this mode, only the pad you actuate flash-
es.
▪ Chord Type: Selects which chords will be mapped to your pads. The available chord types
depend on the selected Chord Mode and Scale Type:
◦ If Chord Mode is set to Harmonizer, the Chord Type parameter offers different chords
depending on whether Scale Type is set to Chromatic or to any other scale. All availa-
ble chords are listed in the tables below.
◦ If Chord Mode is set to Chord Set, the Chord Type parameter provides 16 different
sets of 12 chords each (8 major sets and 8 minor sets): Major 1, Major 2, …, Major 8,
and Minor 1, Minor 2, …, Minor 8. The 12 chords are mapped onto the first 12 pads.
Pads 13–16 are disabled.
When Chord Mode is set to Harmonizer and Scale Type is set to Chromatic, since this scale in-
cludes all semitones the chords can use any of them. Chord Type offers following chords:
Chord Type Semitones Added above Played Note

Octave 12
Perfect 4 5
Perfect 5 7

Chord Type Semitones Added above Played Note

Major 4 and 7
Minor 3 and 7
Suspended 4 5 and 7
Major 7 4, 7, and 11
Minor 7 3, 7, and 10
Dominant 7 4, 7, and 10
Dominant 9 4, 7, 10, and 14
Minor 7♭5 3, 6, and 10
Diminished 7 3, 6, and 9
Augmented 4 and 8
Quartal 5, 10, and 15
Trichord 5 and 11
When Chord Mode is set to Harmonizer and Scale Type is set to any other scale than Chromatic,
the chords are bound to the particular notes included in the specified scale. Chord Type offers
following chords:
Chord Type Notes Added to Played Note

Octave Octave
1-3 3rd
1-5 5th
1-3-5 3rd and 5th
1-4-5 4th and 5th
1-3-5-7 3rd, 5th, and 7th
1-4-7 4th and 7th

Scales and Chords: Visual Feedback on the Pads

When scales and/or chords are enabled, the LEDs of the pads keep you informed at any time
on the current scale and chord configuration. The default lighting behavior of your pads is
modified by the Scale and Chord engine as follows:
When Chord Mode is set to Off or Harmonizer, pads of root notes are fully lit:
Type of Pad (for Selected Scale) LED in Default LED when Pad Triggered
State
Root notes Fully lit Flash
Other pads Dimly lit Flash
Note that if Chord Mode is set to Harmonizer, pads triggered as part of the chord will also
flash.
When Chord Mode is set to Chord Set, pad 1 is fully lit:
Type of Pad LED in Default LED when Pad Triggered

State
Pad 1 Fully lit Flash
Pads 2–12 Dimly lit Flash
Pads 13–16 Off (pad inactive)
Enharmonic Spelling of the Root Note

On your controller, depending on the Scale Type, Chord Mode, and Chord Type you have se-
lected, the enharmonic spelling of the Root Note will vary in order to optimize the spelling of
the entire scale / chord set:

Condition Enharmonic Spelling

Scale Type is set to All C C# D D# E F F# G G# A A#
Chromatic Keys
Scale Type is not set to C C# D E♭ E F F# G A♭ A B♭ B
Chromatic
Chord Mode is set to C D♭ D E♭ E F F# G A♭ A B♭ B
Chord Set and Chord
Type is set to Major 1-8
Chord Mode is set to C C# D D# E F F# G G# A B♭ B
Chord Set and Chord
Type is set to Minor
1-8
Erasing Notes
When erasing notes from your controller, the notes effectively deleted vary with the Chord Mode
currently selected:
▪ If Chord Mode is set to Off, the notes with the pitch corresponding to the pressed pad are
deleted.
▪ If Chord Mode is set to Harmonizer, only the notes with the pitch of the pressed pad are
deleted. The other notes in the triggered chord are not deleted.
▪ If Chord Mode is set to Chord Set, no notes are deleted, in other words erasing is disabled.
6.4.4 Creating Arpeggios and Repeated Notes

MASCHINE includes a flexible and versatile Arp engine, an arpeggiator that effectively lets you
play your Sounds in note sequences. The arpeggios are created according to both the pads you
hold and the chords configured with the Scale and Chord engine (see section ↑6.4.2, Selecting
a Scale and Creating Chords).
If you have enabled chords, you can even press more than one pad to include the notes of all corre-
sponding chords into your arpeggio!

Like the Scale and Chord engine, the Arp engine is dedicated to Keyboard mode.
The Arp engine can be seen as a melodic extension of the Note Repeat: Actually, Arp replaces
and extends Note Repeat in Keyboard mode. Instead of playing repeated notes at a constant
pitch you can play sequences of notes at different pitches.
Arp and Note Repeat have similar modes on your controller: Depending on whether your pads
are in Pad Mode or Keyboard mode, pressing NOTE REPEAT on your controller will switch to
Note Repeat mode or Arp mode, respectively. Arp mode simply adds a few parameters to those
found in Note Repeat mode.
General Notes on the Note Repeat and Arp Engine

▪ The Note Repeat / Arp parameters are the same for all Sound slots in all Groups of your
Project. These parameters are saved with the Project.
▪ The Note Repeat / Arp engine processes live input from the pads of your controller only.
Input from third-party MIDI controllers and data recorded in the Pattern Editor are not
processed by the Scale and Chord engine.
▪ The Note Repeat / Arp engine detects and makes use of any changes in the pressure you
apply on each single pad you hold (Polyphonic Aftertouch). This allows you to generate ar-
peggios and repeated notes with varying velocities!
▪ The output of the Note Repeat / Arp engine is recorded into the Pattern Editor.
▪ The Note Repeat / Arp parameters cannot be modulated nor automated in MASCHINE.
▪ You can use Note Repeat and Arp even if the transport is not running: In this case the Note
Repeat / Arp engine will use its own central clock. This clock will be reset as soon as you
start the playback.
KOMPLETE KONTROL S-SERIES owners: The central clock is shared by all connected devices, so
that e.g. repeated notes triggered from your MASCHINE controller and arpeggios triggered from your
KOMPLETE KONTROL S-SERIES keyboard will be synchronized even if the transport is not running.
Pads in Pad Mode: Note Repeat

Check that your Pattern is playing, if not, press PLAY to start the sequencer.
1. Hold the NOTE REPEAT button.

2. While holding NOTE REPEAT, hold any pad.

The Sound of the pad is repeatedly triggered at the rate shown at the bottom of the con-
troller’s display.
3. While holding NOTE REPEAT, press Button 5, 6, 7 or 8 above the right display to select
another repetition rate.
→ This is a handy way to add live ornaments to your Pattern!
The Note Repeat mode on your controller.
Even if Note Repeat is locked, it won’t be applied to your pads when your controller is displaying
the SLICE page of Sampling mode.
Note Repeat mode seamlessly switches to Arp mode as soon as you switch your pads from Pad
Mode to Keyboard mode (see below): All current values (including the LOCK state) are retained.
Pads in Keyboard mode: Arp

If your pads are in Keyboard mode, pressing NOTE REPEAT switches your controller to Arp
mode:

The Arp mode on your controller.
In Arp mode you can customize the way the notes of the played chord will be arpeggiated by
adjusting following settings:
Element Description
LOCK (Button 2) Keeps the Arp feature enabled even when you leave Arp mode. For
example, this can be useful to adjust the chord settings, switch to
another Pattern, adjust Plug-in parameters, etc., while keeping
arpeggios running. If Arp is locked, when you switch to another
controller mode the NOTE REPEAT button stays dimly lit to remind
you that Arp is on.
You can also use the shortcut SHIFT + NOTE REPEAT at any time to
enable/disable LOCK.
HOLD (Button 3) Allows the notes played by the arpeggiator to be latched. This means
the pads can be released and the arpeggiated notes will continue to
play. Press HOLD (Button 3) again to stop the arpeggiator.
GATE RESET Press this button at any time to reset the GATE parameter to its
(Button 4) default value of 100%.

Element Description
Button 5–8 Selects between four different presets, even during playing. Each
preset can store particular values for the TYPE; RATE, UNIT,
SEQUENCE, and OCTAVES parameters at the bottom of the displays
(see below). The rate currently assigned to each button is indicated
below on the display along with the UNIT value (“T” for triplet values
or “D” for dotted values). The selected preset is highlighted.
TYPE (Knob 2) Sets the sequential order of the arpeggiated notes. You can choose
from following settings:
Up starts from the root note and plays the notes up through the
chord.
Down plays the notes the other way around.
Up & Down plays the notes in both directions alternatively.
Order Played plays the notes in the order you pressed down the
corresponding pads on your controller. If you have configured chords,
the arpeggio will first play all notes of the chord triggered by the first
pad you pressed, then all notes of the chord triggered by the second
pad you pressed, etc.
Chord plays all notes of the chord together repeatedly.
RATE (Knob 3) Adjusts the note length, hence the rate of the arpeggio. Available
values are 1 BAR and a series of note values going from 1/2 (half
note) until 1/128 (a hundred twenty-eighth note).
UNIT (Knob 4) Selects from three variations of the original note length defined by
the RATE parameter: NORMAL plays the original note length (default
setting), TRIPLET plays triplets of the original note length (faster,
three notes in the duration of two original notes), and DOTTED plays
dotted versions of the original note length (slower, two notes in the
duration of three original notes). Under Button 5–8, triplet values are
indicated by a “T” and dotted values by a “D” next to the note value.

Element Description
SEQUENCE (Knob 5) Allows you to add interesting rhythms to your arpeggiated notes.
Select one of eight different sequences and apply it to the arpeggio
you are playing. Select Off to use the default regular sequence.
OCTAVES (Knob 6) Adjusts the spread of the arpeggiated sequence. You can choose to
play back your sequence within the octave of the pads you pressed
on your controller only, or you can select up to eight octaves and let
the notes of your chord (or the single note of your pad) be played
back in as many octaves.
DYNAMIC (Knob 7) Amplifies or reduces the velocity derived from the pressure you apply
on each single pad you hold (Polyphonic Aftertouch). Available
values range from 1% to 200%. This setting applies globally to all
rate presets.
GATE (Knob 8) Adjusts the ratio between the duration of the notes and the duration
of the silences between them, measured as a percentage of the note
value set by RATE (see above). Available values range from 0% to
200%: At low values the notes are very short. At 50% notes and
silences are equal. At 100% (midcourse) each note last exactly until
the next note is triggered. At higher values notes overlap (provided
that the selected Sound is polyphonic). This setting applies globally
to all rate presets.
Arp mode seamlessly switches to Note Repeat mode as soon as you switch your pads from Keyboard
mode to Pad Mode (see above): All current values (including the LOCK state) are retained.
6.4.5 Swing on Note Repeat / Arp Output

The Swing engines (at the Master, Group, and Sound level) process notes coming from the Pat-
tern Editor and from the Arp engine (pads in Keyboard mode) or Note Repeat engine (pads in Pad
Mode). In other terms, the swing is applied not only to your Patterns but also to any live se-
quence generated by the Arp or Note Repeat engine.

Using Lock Snapshots
The applied swing is not recorded in the Pattern Editor. For an overview of the signal flow starting
from your pads, have a look at the diagrams in section ↑6.4.1, Overview of the Perform Features.
For example, when you play live beats on top of a running Pattern, you can use Note Repeat
without destroying the Pattern’s groove: the repeated notes will be processed using the same
swing parameters as the playing Pattern.
When the playback is not running, the swing is still applied to the output of Arp (Keyboard mode) or
Note Repeat (Pad Mode). If you press PLAY on your controller, the playback starts immediately and
the swing cycle is reset.
6.5 Using Lock Snapshots

Lock allows you to create up to sixty-four snapshots spread across four banks of sixteen pads
providing a total of up to sixty-four snapshots. Each snapshot contains every modulatable pa-
rameter in your Project, including your Solo and Mute settings. Once created, you can use Ex-
tended Lock to switch between these instantly, or morph between them synchronized to the
tempo of your Project. Lock snapshots are a powerful tool for extensive modulations, but also
very useful to compare mixes, or to switch up snapshots during a live performance.
The Lock button is used to create and recall a single snapshot, and when used in addition with
Extended Lock, snapshots can be managed; allowing you to update them, clear unwanted
snapshots, and organize them exactly the way you want.
6.5.1 Creating a Lock Snapshot

Use the Lock button to capture, update or recall a single Lock snapshot.
To create a Lock snapshot:
1. Press the CHANNEL or PLUG-IN button.
2. Press LOCK to take a snapshot.
⇨ The LOCK button is highlighted to indicate a single snapshot has been taken. You are now
free to change parameters or Mute and Solo settings, safe in the knowledge you can recall
your snapshot.

3. Press LOCK to recall the snapshot.
→ The Lock snapshot is recalled and the LOCK button ceases to be highlighted. You can ac-
cess your snapshot in Extended Lock mode. For more information on Extended Lock read
↑6.5.2, Using Extended Lock. If you find better settings press the LOCK button again to
update the snapshot.
► Press SHIFT + FILE (Save) to save your Project.
See also
2 Using Extended Lock [➙ 327]
6.5.2 Using Extended Lock

Extended Lock presents an overview of all your Lock snapshots. Here you can recall, update, or
clear your snapshots. You can also set options for morphing between snapshots.
To enter Lock view:
► Press SHIFT + LOCK (Ext Lock).
→ The pads change to provide an overview of all your Lock snapshots. The dimly-lit click-
pads represent your stored snapshots. The brightly lit Pad represents the selected snap-
shot.
6.5.3 Updating a Lock Snapshot

If you have created a Lock snapshot but find better settings you can update the Lock snapshot.
There are two ways to achieve this, you can use the Lock option or Update option directly with-
in Extended Lock. Please note, both methods will overwrite the selected in Extended Lock
mode.
To update a stored Lock snapshot:
2. Press SHIFT + LOCK (Ext Lock).
3. Select the pad containing the snapshot you want to update. If necessary, press Button 7
or 8 to access a Lock snapshot from another bank.

4. Press the LOCK button to exit Extended Lock view.

5. Adjust the settings on your controller until you are ready to update the snapshot. You can
use button 5 and 6 to switch between Channel parameters and Plug-in parameters.
6. Press SHIFT + LOCK (Ext Lock) to return to Extended Lock view.
7. Press button 5 UPDATE to update your snapshot.
Repeat the process to update other Lock snapshots.
6.5.4 Recalling a Lock Snapshot

Within Extended Lock you can recall a stored Lock snapshot.
To recall a Lock snapshot:
2. Press SHIFT + LOCK (Ext Lock)
3. Select the snapshot you want to recall from the pads. If necessary, press Button 7 or 8 to
access a Lock snapshot from another bank.
The snapshot is recalled and parameters return to their stored setting. You can also morph be-
tween settings using the settings in the on-screen overlay.
6.5.5 Morphing Between Lock Snapshots

When switching between two stored snapshots you can set MASCHINE to morph between
them, adding movement and interest to a song. Within Extended Lock you can switch on
morphing, and set the morph sync and timing parameters.
To morph between your Lock snapshots:
3. Turn knob 1 to turn the MORPH setting on.
4. Adjust the Morph mode and time to your requirements. A description of each mode is de-
scribed in the table below.

→ As you switch between your snapshots a controlled transition from one to another at the
selected time rate can be heard.
Element Description
MORPHING
MORPH Select to switch morphing ON or OFF mode.
MODE TRAVEL will morph the selected snapshots without syncing to the
grid. The morph will begin instantly instead of waiting until the next
bar begins. The duration of the morph is set using the TIME
parameter.
TARGET will morph in sync to the downbeat when set to Bar, or to
the selected Grid value.
TIME/GRID In TRAVEL mode the duration of the morph will last for the amount
of Bars set here.
In TARGET mode the duration of the morph is set according to the
Grid value set here.
6.5.6 Deleting a Lock Snapshot

Within Extended Lock you can delete a stored Lock snapshot.
To delete a Lock snapshot:
3. Press the pad containing the snapshot you want to delete. If necessary, press Button 7 or
8 to access a Lock snapshot from another bank.
4. Press button 6 DELETE to delete a snapshot.
5. Press the pad containing the snapshot you want to clear.
The snapshot is cleared.

6.5.7 Triggering Lock Snapshots via MIDI

If MASCHINE is running as a plug-in in a host environment, you can trigger and change Lock
snapshots using MIDI Note or MIDI Program Change messages sent from your host to the MA-
SCHINE plug-in.
When this feature is enabled, MIDI notes messages, or Program Change messages are linked to
MASCHINE’s Lock snapshots, whether they contain a snapshot or not:
Matrix Click-Pad/Snapshot MIDI Note Number Program Change Number

1 0 (C-2) 1
2 1 (C#-2) 2
3 2 (D-2) 3
… … …
64 63 (D#3) 64
The primary use case for triggering Lock snapshots via MIDI is when using MASCHINE in plug-
in mode. However, it is also possible using an external MIDI device such as a keyboard to trig-
ger a snapshot.
MIDI Note numbers: Host applications use various conventions to name MIDI notes. For example, in
MASCHINE, MIDI note number 0 is referred to as C-2 and MIDI note number 60 (middle C) as C3.
Please refer to the documentation of your host to find out which convention is used.
Program Change numbers: Some host applications send Program Change numbers in the range [0–
127] instead of [1–128]. In that case, the PC number 0 will trigger snapshot slot 1, PC 1 will trig-
ger snapshot slot 2, etc. Please refer to the documentation of your host to know in which range it
sends Program Change numbers.
Enabling the MIDI Lock Change

To enable or disable the MIDI Lock Change feature, do the following:
1. Click Edit > MIDI Change.

Using the Smart Strip
2. In the submenu that opens, select the source you want to use for changing the MIDI Pro-
gram Change messages. A list of connected controller names appear in the drop-down
menu, or you can select None to disable the feature.
3. Then select MIDI Note to trigger your Lock snapshots via MIDI notes, or Program Change
to trigger your Lock snapshots via MIDI Program Change messages.
4. If necessary, reopen the same submenu and select the MIDI channel the Lock changes
should receive MIDI messages from (channel 1 by default).
MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel
for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from
the MIDI source. Corresponding Lock snapshots will not be recalled.
For more information on triggering Lock snapshots using your DAW (Digital Audio Workstation),
please check the Knowledge Base on the Native Instruments website.
6.6 Using the Smart Strip

The Smart Strip on the controller puts control of several parameters literally at your fingertips:
You can use the Smart Strip to apply pitch bend or modulation to the sound you are playing on
the pads, or you can tweak Perform FX in real time. You can also play Sounds by strumming on
the Smart Strip.
Smart Strip on the Controller with PITCH mode enabled.

6.6.1 Pitch Mode

In Pitch mode, sliding your finger on the Smart Strip “bends” the pitch of the notes you play on
the pads, i.e., it detunes the sound by a certain amount. If you have used the pitch bend
wheel on a synthesizer or standard MIDI keyboard before, you are probably familiar with the
effect.
In Pitch mode, the scale on the Smart Strip is centered, as indicated by a white LED in the
middle of the Smart Strip. Sliding your finger to the left will flatten the pitch. Sliding your fin-
ger to the right will sharpen the pitch. The amount of pitch bend applied to the Sound is indi-
cated by the LED dots above the Smart Strip. Once you lift your finger off the Smart Strip, the
pitch of the sound will return to standard tuning.
► To enable Pitch mode, press the PITCH button.
6.6.2 Modulation Mode

In Modulation mode, sliding your finger on the Smart Strip modulates the sound of the notes
you play on the pads. The Smart Strip always controls the parameter that is assigned to the
standard MIDI CC #1. This MIDI Continuous Controller is reserved for the modulation wheel. If
you have used the modulation wheel on a synthesizer or standard MIDI keyboard before, you
are probably familiar with the effect.
In Modulation mode, the scale starts at the left side of the Smart Strip, as indicated by a white
LED. Sliding your finger to the right will apply an increasing amount of modulation, as indicat-
ed by the LED dots above the Smart Strip. When you lift your finger off the Smart Strip, the
modulation value will remain at the position where the strip was last touched; the LED dots
above remain lit to indicate this position.
► To enable Modulation mode, press the MOD button.
6.6.3 Perform Mode

In Perform mode, the Smart Strip controls a parameter of one of the Perform effects (Per-
form FX) described in ↑15.7, Perform FX. For each of the Perform FX, the Smart Strip is map-
ped to the parameter that makes most sense to control in real time.
To control a Perform FX using the Smart Strip:

1. Press the PLUG-IN button.

2. Select the Group (A-H) you want to apply the effect to.
3. Open the Perform FX page on the controller by pressing SHIFT + PERFORM.
4. Select a Perform FX mode from the Mode menu by turning Knob 1, and letting go of the
knob when the effect you want to use is highlighted in the list.
5. Press PERFORM to enable Perform mode.
6. Slide a finger on the Smart Strip to control the parameter the Smart Strip is mapped to.
→ The effect will sound for the length of time your finger is held on the Smart Strip.
6.6.4 Notes Mode

In Notes mode, sliding your finger on the Smart Strip plays the pads you hold one after the oth-
er. Sliding your finger on the Smart Strip while no pad is held will play all Sounds mapped to
the pad matrix in Pad Mode or Keyboard mode. If you slide your finger from left to right, the
pads will be played in an ascending manner. If you slide your finger from right to left, the pads
will be played in a descending manner. This applies regardless of which pads (if any) are held.
To play notes using the Smart Strip:
1. Load a Group (in Pad mode) or Sound (in Keyboard/Chords mode) so they are mapped to
the pads.
2. Press the NOTES button to enable Notes mode.
3. Press and hold the pads you want to play.
4. Slide your finger on the Smart Strip to “strum” the sounds mapped to the pads.

Working with Plug-ins
Plug-in Overview
7 Working with Plug-ins
Plug-ins are the building blocks of all sound in MASCHINE. They can be used at all three lev-
els of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master.
This chapter includes various general or specific Plug-in topics:
▪ An overview of Plug-ins and how to handle them (↑7.1, Plug-in Overview).
▪ An exhaustive description of an essential Internal Instrument Plug-in in charge of playing
back all sample content in MASCHINE: the Sampler (↑7.2, The Sampler Plug-in).
▪ Specific information on Native Instruments and External Plug-ins (↑7.3, Using Native In-
struments and External Plug-ins).
7.1 Plug-in Overview

This section describes Plug-ins in general: where you can find them, how you can adjust their
settings, and how you can manage them.
7.1.1 Plug-in Basics

In Arrange view, the content and settings of the focused Sound/Group or the Master are dis-
played in the Control area (in the middle of the software window):

Plug-in Overview
The Control area displaying the content of the Sound Kick Ordinance of the selected Sound slot 1.
Sounds, Groups, and the Master can each hold any number of Plug-ins. These are stacked up
in the Plug-in List, on the left of the Control area.

Plug-in Overview
► To show the Plug-in List, click the little Plug-in icon at the far left of the Control area:
In the Plug-in List, the processing order is always from top to bottom.
In addition to Plug-ins, each Sound, each Group, and the Master also provide a set of global set-
tings called Channel properties. These are described in section ↑6.3.3, Groove and in chapter ↑12,
Audio Routing, Remote Control, and Macro Controls.
Different Types of Plug-ins

Plug-ins can be of different types:

Plug-in Overview
Instrument Plug-ins Effect Plug-ins

Internal Plug-ins Audio, Sampler, Drumsynth, Bass MASCHINE internal effects
Synth
Native Instruments VST/AU instrument plug-ins from VST/AU effect plug-ins from
Plug-ins Native Instruments’ range of Native Instruments’ range of
products products
External Plug-ins Third-party VST/AU instrument Third-party VST/AU effect plug-ins
plug-ins
▪ Instruments: These Plug-ins generate sound. Instrument Plug-ins can only be loaded in the
first Plug-in slot of Sounds. Following Plug-ins are available:
◦ Audio: Included with MASCHINE, the Audio Plug-in allows audio loops to play back in
time with the tempo of your Project. Adding audio with the Loops tag from the Brows-
er to the Sound slot will automatically load the Audio Plug-in in the first Plug-in slot
of the Sound. See ↑8, Using the Audio Plug-in for more details.
◦ Sampler: Included with MASCHINE, the Sampler Plug-in allows the selected Sound to
play back Samples. Adding a Sample to the Sound slot will automatically load the
Sampler in the first Plug-in slot of the Sound. See ↑7.2, The Sampler Plug-in for more
details.
◦ Drumsynths: Included with MASCHINE, these Plug-ins are mini-synths specialized in
generating drum sounds. See chapter ↑9, Using the Drumsynths for more details.
◦ Bass Synth: Included with MASCHINE, this Plug-in is a monophonic synthesizer speci-
alized in generating bass sounds. See chapter ↑10, Using the Bass Synth for more de-
tails.
◦ Native Instruments: You can use all Native Instruments KOMPLETE instruments instal-
led on your computer as VST/AU plug-ins (e.g., MASSIVE, which is included with MA-
SCHINE). Products from Native Instruments are tightly integrated in MASCHINE.
◦ External: You can also use VST/AU instrument plug-ins from any third-party manufac-
turers.
▪ Effects: These Plug-ins modify the audio coming from the previous Plug-in slot (or from the
incoming audio if the Effect is loaded in the first Plug-in slot of a Sound). Effect Plug-ins
can be loaded in any Plug-in slot. Following Plug-ins are available:

Plug-in Overview
◦ Internal Effects: These are the Effect Plug-ins included with MASCHINE. To read every
details about each of the MASCHINE internal effects, and how to use them, please
refer to chapter ↑12, Audio Routing, Remote Control, and Macro Controls and ↑15,
Effect Reference.
◦ Native Instruments: You can use all Native Instruments KOMPLETE effects installed on
your computer as VST/AU plug-ins. Products from Native Instruments are tightly inte-
grated in MASCHINE.
◦ External: You can also use VST/AU effect plug-ins from any third-party manufacturers.
What to Load, and Where

The type of Plug-in that you can load depends on the selected level (Sound, Group or Master)
and slot:
▪ Effect Plug-ins (both internal and external) can be loaded in all Plug-in slots at all levels
(Sound, Group, Master).
▪ Instrument Plug-ins (both internal and external) can only be loaded in the first Plug-in slot
of Sounds.
7.1.2 First Plug-in Slot of Sounds: Choosing the Sound’s Role

The Plug-in loaded in the first Plug-in slot of a Sound will determine the general role of this
Sound:
▪ If the first Plug-in slot holds an Instrument Plug-in (Sampler, Drumsynth, Native Instru-
ments or External Instrument, see above), the Sound will generate its own audio.
▪ If the first Plug-in slot holds an Effect Plug-in (Internal, Native Instruments or External), the
Sound will be available as bussing point for other signals (from within MASCHINE, and
possibly from the outside world). This notably allows you to build up send effects or to ap-
ply effects to external audio. See section ↑14.3.1, Step 1: Set Up a Sound or Group as
Send Effect for more information.
You can also sample directly to a Sound slot. This will automatically load a Sampler in its first Plug-
in slot. Read chapter ↑15, Effect Reference for more details on this.

Plug-in Overview
7.1.3 Loading, Removing, and Replacing a Plug-in

The procedure to load a Plug-in with its default settings is common to all levels (Sound, Group,
and Master) and all Plug-in types (Internal, Native Instruments, and External, as well as Instru-
ment and Effect):
1. Set the focus to the Sound, Group or the Master where you want to load the Plug-in (see
section ↑3.3.7, Focusing on a Group or a Sound). In the picture below we click an empty
Sound slot in the Sound List of the Pattern Editor and click the SOUND tab in the Control
area above.
The Control area will now show the content (Channel properties or Plug-ins) of the Sound
we have just selected.
2. At the far left of the Control area, click the little plug icon to display the Plug-ins.
This displays the Plug-in List on the left of the Control area:

Plug-in Overview
The Plug-in List is still empty, because we selected an empty Sound slot. The only visible
element in the list is a “+” icon at the top left.
3. Click the slot with the “+” icon at the top of the Plug-in List.
This opens the Plug-in menu where you can select the desired Plug-in for loading (see be-
low for a detailed description of the entries contained in the Plug-in menu).
→ Upon your selection the selected Plug-in sits at the top of the Plug-in List, in the first
Plug-in slot of the Sound (in our example). In addition, some Native Instruments and Ex-
ternal Plug-ins will automatically open in a floating window (see section ↑7.3.1, Opening/
Closing Plug-in Windows for more on this).
You will notice that the “+” sign has moved to the next slot. Clicking it would allow you to load
a Plug-in into the next Plug-in slot of that Sound, and so on.
Instead of using the Plug-in menu to load a Plug-in with its default settings, you can also use the
Browser to load a particular preset for a Plug-in. In particular, this can come in handy to insert a
new Plug-in between two existing Plug-ins of the Plug-in List. Please refer to chapter ↑4.2, Search-
ing and Loading Files from the Library for more information.

Plug-in Overview
Removing and Replacing a Plug-in

Once you have loaded a Plug-in into a Plug-in slot, the slot shows the name of the loaded
Plug-in, preceded by an icon describing the type of Plug-in (Instrument or Effect), and fol-
lowed by a down-pointing arrow:
A few Plug-ins loaded.
This down-pointing arrow lets you open the Plug-in menu for slots already hosting a Plug-in.
► In the Plug-in List, click the down-pointing arrow at the right of a Plug-in name to open
the Plug-in menu for that slot. You can also right-click ([Ctrl]-click on macOS) the Plug-in
name in the slot.
This will notably allow you to remove the loaded Plug-in from the slot:

Plug-in Overview
► To remove the Plug-in currently loaded in a slot, open its Plug-in menu and select None
at the top of the menu.
→ The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards
to fill the gap.
Furthermore, the Plug-in menu also allows you to replace the loaded Plug-in with another one:
► To replace the Plug-in currently loaded in a slot, open its Plug-in menu and select another
Plug-in in the menu.
→ The original Plug-in is replaced with the newly selected one. The rest of the Plug-in List
stays untouched.
You can also recall the search query that was used to find the Plug-in preset currently loaded in the
Plug-in slot (see section ↑4.8, Using Quick Browse for more information).

Plug-in Overview
Content of the Plug-in Menu

The entries in the Plug-in menu differ according to the Plug-in slot from which you are calling
the menu:
▪ The first Plug-in slots of Sounds accepts both Instrument and Effect Plug-ins. The entries
available in their Plug-in menu are listed in the following table.
▪ All other Plug-in slots at the Sound, Group, and Master level only accept Effect Plug-ins.
Therefore, their Plug-in menus and submenus provide the same entries except all entries
for Instrument Plug-ins.
The Plug-in menus can have following entries, from top to bottom:
Plug-in Menu Entry Description

Plug-ins
Presets submenu (only Lists all VST/AU presets made available to MASCHINE by the
when a Native Instruments VST/AU plug-in. This allows you to use your favorite presets of
or External Plug-in is the VST/AU plug-in directly inside MASCHINE. See section
loaded) ↑7.3.4, Using VST/AU Plug-in Presets for more information.
None Select None to remove the Plug-in currently loaded (see previous
paragraph).
Native Instruments Lists available Native Instruments’ Instruments (first Plug-in slot
submenu of Sounds only) and Effects. For products working both as
Instrument and Effect, the Effect Plug-in name is followed by
the mention FX. If necessary each entry is followed by the plug-
in type between brackets: (VST) or (AU). See section ↑7.3, Using
Native Instruments and External Plug-ins for more information.
External submenu Lists the available External Plug-ins, i.e. the available VST/AU
instrument (first Plug-in slot of Sounds only) and effect plug-ins
from third-party manufacturers. Each entry is followed by the
plug-in type between brackets: (VST) or (AU). See section ↑7.3,
Using Native Instruments and External Plug-ins for more
information.

Plug-in Overview

Sampler (first Plug-in slot The Sampler is the Internal Instrument Plug-in used to play back
of Sounds only) all Samples in MASCHINE — this essential Plug-in will be
described in details in section ↑7.2, The Sampler Plug-in.
Drumsynth submenu (first Lists the available Drumsynths: Kick, Snare, Hi-hat, Tom, and
Plug-in slot of Sounds Percussion. Included with MASCHINE, these Instrument Plug-
only) ins are synths specialized in generating drum sounds — for all
details please refer to chapter ↑9, Using the Drumsynths.
All MASCHINE Internal Effect Plug-ins included with MASCHINE. Their entries are split
Effects into various categories (dynamics, filtering, modulation, reverb,
etc.). See chapter ↑9.6.3, Percussion – Shaker for more details
on their usage, and chapter ↑15, Effect Reference for an
exhaustive description of each MASCHINE Internal Effect Plug-
in.
Edit Commands
Cut Removes the Plug-in from its current slot and stores the Plug-in
and all its settings to the clipboard for later use.
Copy Copies the Plug-in and all its settings to the clipboard for later
use.
Paste Loads into the current slot the Plug-in and all its settings that
were cut or copied from another slot. This notably allows you to
use a Plug-in in different locations (Sounds, Groups, Master)
with the same settings.
Preset Management
Open… Allows you to open a Plug-in preset you have previously saved.

Plug-in Overview

Save As… Allows you to save the current Plug-in settings as a preset for
later use. This preset will appear in the Browser.
Save As Default… (only Allows you to save the current Plug-in settings as a default
when a Native Instruments preset. This default preset will be recalled each time you load
or External Plug-in is the Plug-in from the Plug-in menu.
loaded)
Note that the first two submenus Native Instruments and External only show the Plug-ins that are
enabled in the Plug-ins page of the Preferences panel. For more on this, see section ↑3.7.6, Prefer-
ences – Plug-ins Page.
The edit commands (Cut, Copy, and Paste) and preset management commands (Open, Save As…,
and Save As Default…) available at the bottom of the Plug-in menu will be covered in section
↑7.1.7, Moving Plug-ins and ↑7.1.9, Saving and Recalling Plug-in Presets, respectively.
7.1.3.1 Browser Plug-in Slot Selection

Select a plug-in slot directly from the Browser using the SHIFT button. The SHIFT button pro-
vides temporary access to the Plug-in mode allowing you to select a plug-in slot from the Plug-
in List. This can be accomplished from the Browser when loading content into all three levels
of the MASCHINE audio routing system: in Sounds, in Groups, and in the Master.
To change the focus of the plug-in slot from the Browser:
1. Press the BROWSE button.
2. Press SHIFT, then press button 5 or 6 to select to a plug-in slot.
→ The focus slot can be selected from the browser.

To change the focus of the plug-in slot from the Browser:
1. Press the BROWSE button.
2. Press SHIFT, then press button 7 or 8 to select a plug-in slot.
The focus slot can be selected from the browser.

Plug-in Overview
7.1.3.2 Loading, Removing, and Replacing a Plug-in on your Controller

On the controller, do the following:
1. At the top left of your controller, press the PLUG-IN button to enter Control mode and dis-
play the Plug-in slots of the selected Sound, Group or the Master.
2. Select the Sound, Group or the Master where the Plug-in is located (see section ↑3.3.7,
Focusing on a Group or a Sound).
3. Move the 4-D encoder to the right to navigate to the desired Plug-in.
The name of the selected Plug-in appears on the right display in the field between the
arrows under Button 5 and 6. If there are no Plug-ins in the channel this will read EMP-
TY.
→ You are now ready to load, insert, remove or replace a Plug-in as described in the follow-
ing paragraphs.
Loading a Plug-in in Place

To load a Plug-in into the selected Plug-in slot, do the following:
1. Press SHIFT + BROWSER (Plug-in) to open the Plug-in Browser and browse the available
Plug-ins.
2. On the left display, turn Knob 1 to select the TYPE from Instrument or Effect.
The right display shows the list of available instruments or effect Plug-ins.
3. If you have selected the first Plug-in slot of a Sound, turn Knob 2 to select the VENDOR
from INTERNAL, or the name of the vendor, e.g. Native Instruments.
If you have selected any other Plug-in slot the TYPE field is not available — only Effect
Plug-ins will be listed in the right display.
4. Turn the 4-D encoder or Knob 8 to browse the Plug-ins corresponding to your TYPE (and
possibly VENDOR) selection.
5. When you have found the Plug-in you want to use, press the 4-D encoder or Button 8
(LOAD) to load it. You can also use Buttons 5 and 6 to step through the list and load each
effect directly.

Plug-in Overview
If the selected Plug-in slot was not empty, the previous Plug-in will be replaced with the new Plug-
in.
Instead of using the Plug-in Browser, you can also use the common Browser to load a particular pre-
set for a Plug-in (see section ↑4.2, Searching and Loading Files from the Library).
Inserting a Plug-in
To insert a Plug-in directly after the selected Plug-in slot, do the following:
1. Press SHIFT + Button 3 (INSERT).
This automatically opens the Browser on your controller and locks the File Type to EF-
FECT (Button 1 and 2, normally used in the Browser to select the desired File Type, are
here disabled).
2. Choose and load the desired Plug-in preset via the usual workflow in the Browser (see sec-
tion ↑3.3.7, Focusing on a Group or a Sound).
→ When you finally press the 4-D encoder or Button 8 (LOAD), your controller automatically
switches back to Control mode and the new Plug-in is loaded in the next Plug-in slot. All
following Plug-ins are shifted one slot downwards to make room for the new Plug-in.
Removing a Plug-in
To remove a Plug-in from its slot, do the following:
► Press SHIFT + Button 8 (REMOVE).
→ The Plug-in is unloaded from the slot. All following Plug-ins are shifted one slot upwards
to fill the gap.
Alternatively, you can press SHIFT + BROWSE, turn the 4-D encoder (or Knob 8) to select (none) at
the top of the list in the right display, and press the 4-D encoder or Button 8 (LOAD).
Replacing a Plug-in
► To replace a Plug-in, simply select its slot and load a new Plug-in as described above.

Plug-in Overview
You can also recall the search query that was used to find the Plug-in preset currently loaded in the
Plug-in slot (see section ↑4.8, Using Quick Browse for more information).
7.1.4 Adjusting the Plug-in Parameters

The procedure for adjusting the Plug-in parameters is common to all types of Plug-ins and all
sets of Channel properties. It is described in section ↑3.3.9, Navigating Channel Properties,
Plug-ins, and Parameter Pages in the Control Area.
Native Instruments and External Plug-ins only: You can also adjust the Plug-in parameters via the
own user interface of the VST/AU plug-in. More on this in ↑7.3, Using Native Instruments and Ex-
ternal Plug-ins.
7.1.5 Bypassing Plug-in Slots

You can bypass (or “mute”) any Plug-in slot. When a Plug-in slot is bypassed, the Plug-in it
contains is temporarily removed from the signal flow and does not process the audio passing
through the slot. Instead, the incoming audio is directly sent to the next Plug-in slot for further
processing (or to the channel’s output if you bypass its last Plug-in slot).
Bypassing Plug-in slots can be very useful in various situations, for example:
▪ Bypassing and re-enabling an effect during a live performance.
▪ Comparing the sound with and without an effect.
▪ Troubleshooting complex effect chains and routings (“Where does this strange reverb tail
come from?”).
To bypass a Plug-in, do the following:
1. If you want to bypass a Plug-in of the Master, click the MASTER tab in the top left corner
of the Control area.
2. If you want to bypass a Plug-in of a Group, click the desired Group on the left of the Ar-
ranger, and click the GROUP tab in the top left corner of the Control area.

Plug-in Overview
3. If you want to bypass a Plug-in of a Sound, click the Group of its parent Group in the Ar-
ranger, click the desired Sound slot on the left of the Pattern Editor, and click the
SOUND tab in the top left corner of the Control area.
4. In the Plug-in List, click the icon left to the Plug-in name (keys for an Instrument Plug-in,
FX for an Effect Plug-in) to bypass this Plug-in.
The Plug-in does not affect the sound anymore. The icon is grayed out to indicate that
this slot is now bypassed.
Use the same method to unmute the Plug-in:

► To activate the bypassed slot again, click its grayed out icon.
In most cases the first Plug-in slot contains an Instrument Plug-in (e.g., a Sampler). Be careful: by-
passing the slot will mute the whole Sound!
Bypassing a Plug-in Slot on the Controller

1. Press the PLUG-IN button to enter Control mode and display Plug-in slots.
2. If you want to bypass a Plug-in of the Master, press Button 1 to select the MASTER tab.
3. If you want to bypass a Plug-in of a Group, press Button 2 to select the GROUP tab and
press the Group button A–H corresponding to the desired Group. If necessary, first press
SHIFT + the desired Group button A–H to switch to the Group bank containing that
Group.
4. If you want to bypass a Plug-in of a Sound, press Button 3 to select the SOUND tab, se-
lect its parent Group as described in the previous step, and press SELECT + the pad of
that Sound (or simply hit its pad if pads are in Pad Mode).

Plug-in Overview
5. Press Button 5/6 to select the desired Plug-in slot.

The name of the selected Plug-in appears in the field between the left and right arrows
under Button 5 and 6. If there are no Plug-ins in the channel this will read EMPTY.
6. Press SHIFT + Button 7 (BYPASS) above the right display to bypass the selected Plug-in
slot.
→ The Plug-in is bypassed and does not affect the sound anymore. In the left display the
Plug-in icon and name are grayed out. When you hold SHIFT, Button 7 is fully lit and the
BYPASS label on the right display is highlighted to indicate that this Plug-in slot is now
bypassed:
Use the same method to unmute the effect:

► To unmute the effect, press SHIFT + the lit Button 7 (BYPASS).
In most cases the first Plug-in slot contains an Instrument Plug-in (e.g., a Sampler). Be careful: by-
passing the slot will mute the whole Sound!
7.1.6 Using Side-Chain

Some Plug-ins provide side-chaining. This allows you to control their influence on the audio via
another audio signal sent to their secondary, side-chain input. This extra routing feature is de-
scribed in details in section ↑14.1.3, Using the Side-Chain Input.
7.1.7 Moving Plug-ins

MASCHINE allows you to move Plug-ins across the Plug-in List and across Sounds and Groups.

Plug-in Overview
Moving Plug-ins Within the Plug-in List

► To move a Plug-in in the Plug-in List, click its name and drag your mouse vertically. While
you are holding the mouse button, an insertion line appears at the place in the Plug-in
List where the Plug-in would land if dropped. Drag your mouse until the insertion line is
at the desired location, then release the mouse button to drop the Plug-in onto this new
location.
→ The Plug-in takes its new place between the existing Plug-ins while keeping the exact
same settings. All other Plug-ins sitting between its old and new location are shifted one
slot upwards/downwards to fill the gap.
Dragging Plug-ins can be very useful if you want to quickly change the effects’ processing order in
the channel.
Moving Plug-ins Across Sounds and Groups

Moving Plug-ins is not only possible within the same Sound but also across Sounds, across
Groups, across levels (e.g., from a Sound to a Group) or across Sounds in different Groups!
To move a Plug-in to another Sound, Group or the Master, do the following:
1. Click the down-pointing arrow of the slot containing the Plug-in that you want to move.
2. In the Plug-in menu that opens, select Cut.
3. Select the Sound, Group or the Master where you want to move the Plug-in (see section
↑3.3.7, Focusing on a Group or a Sound).
4. Click the down-pointing arrow of the target slot (the slot where you want to move the Plug-
in to).
5. In the Plug-in menu that opens, select Paste.
→ The Plug-in with all its parameters has now been moved from its original location to its
target location.

Plug-in Overview
Duplicating Plug-ins Across Sounds and Groups

Instead of selecting Cut in the Plug-in menu of the original slot (see above), select Copy to du-
plicate the Plug-in to another slot!
Moving a Plug-in on the Controller

On your controller in Control mode, you can move a Plug-in to another slot of the same Sound,
Group or the Master. To do this:
1. Select the desired Plug-in (see section ↑3.3.9, Navigating Channel Properties, Plug-ins,
and Parameter Pages in the Control Area).
2. Press SHIFT + Button 5/6 to move this Plug-in to the previous/next slot, respectively.
→ The Plug-in takes its new place between the existing Plug-ins while keeping the exact
same settings. All other Plug-ins sitting between its old and new location are shifted one
slot upwards/downwards to fill the gap.
7.1.8 Alternative: the Plug-in Strip

You can also manipulate your Plug-ins via the Plug-in Strip in the Mix view of MASCHINE. You
will find all details on this feature in section ↑13.4, The Plug-in Strip.
7.1.9 Saving and Recalling Plug-in Presets

All settings and assignments of a Plug-in can be saved as Plug-in presets. Once saved, Plug-in
presets can be accessed from the Browser, both in the software and from your controller (see
section ↑4.2, Searching and Loading Files from the Library). This is a very quick and conven-
ient way to recall Plug-ins with their parameters already set to specific values. In addition a
Plug-in preset can be assigned as the default preset so the Plug-in opens with that preset auto-
matically loaded.
The MASCHINE file format for Native Instruments plug-ins allows you to save a preset in the
format native to the plug-in and freely exchange files between the plug-in instrument in stand-
alone mode, MASCHINE, and KOMPLETE KONTROL.
To use this feature you must ensure all installed Native Instruments plug-ins are up-to-date. Please
check Service Center or log-in to your Native Instruments account to find the latest updates.

Plug-in Overview
7.1.9.1 Saving Plug-in Presets

Saving Plug-in presets can only be done in the software via the Plug-in menu. To access the
Plug-in menu, click the drop-down arrow on the right-hand side of the Plug-in slot in the Plug-
in List:
Opening the Plug-in menu.
The commands for saving Plug-in presets are found at the bottom of the Plug-in menu.
The commands for saving and recalling Plug-in presets in the Plug-in menu.

Plug-in Overview

Save Saves your changes to the preset currently
loaded.
Save As… Saves the current Plug-in settings as a new
preset on your hard disk.
Save As Default… Saves the current settings and assignments as
the default preset for the Plug-in. This default
preset will be loaded with this Plug-in the
next time it is opened.
Remove Default Preset Removes the default preset for the current
plug-in. This menu item only appears after a
preset has been saved using the Save As
Default... menu item.
The Save As… and Save As Default… commands notably allow you to import into the MASCHINE
library your user presets for Native Instruments instruments/effects as well as both factory and user
presets for third-party instruments/effects! See ↑7.3.4, Using VST/AU Plug-in Presets section for
more on this.
7.1.9.2 Recalling Plug-in Presets

All Plug-in presets you saved using the Plug-in menu are available in the Browser, both in the
software and from your controller. You can find each Plug-in preset automatically placed in the
corresponding “Instrument” or “Effect” category in the File Type selector of the Browser’s LI-
BRARY pane. Furthermore, user presets are available when selecting the User content in the
Content selector of the Browser’s LIBRARY pane.
For more information on how to load Plug-in presets in the Browser, and how to assign tags to the
Plug-in presets that you saved, please refer to chapter ↑4, Browser.
In addition, the MASCHINE library already provides a collection of Plug-in presets for MA-
SCHINE Internal Plug-ins. Furthermore, any Native Instruments product installed on your com-
puter will have its own factory library already imported into the MASCHINE Browser so that you
can browse and load its presets directly from MASCHINE, ready for loading.

Plug-in Overview
You can assign tags to the Plug-in presets that you saved. This is done in the Browser in the MA-
SCHINE software. For more information, please refer to section ↑4.5, Editing the Files’ Tags and
Properties.
KOMPLETE products and MASCHINE EXPANSIONS have to be updated to ensure their full integra-
tion into the MASCHINE Library. To update any Native Instruments product installed on your com-
puter, please start the Service Center.
You can also load a Plug-in preset from the Plug-in menu by selecting the Open… command,
then navigating your file system and selecting the desired preset file (extension “.mxinst” for
Instrument Plug-in presets, “.mxfx” for Effect Plug-in presets, or “.mfxp” for MASCHINE 1.x
Module presets).
7.1.9.3 Removing a Default Plug-in Preset

For each plug-in you can set a default preset that is loaded automatically every time the plug-
in is opened. If the default plug-in preset is no longer required, use the Plug-in menu to re-
move the saved default preset.
To remove the default preset of a plug-in using the Plug-in menu:
1. Click the Sound containing the Plug-in.
2. Click the Plug-in drop-down menu.

The Sampler Plug-in
3. Click Remove Default Preset in the menu to remove the default preset.
→ The default plug-in preset is removed and the plug-in will load with its initialized settings
next time it is opened.
You can also use the Plug-in Manager in the Preferences panel to gain an overview of your de-
fault plug-in presets and also remove them if required.
Removing the default preset for a plug-in is a software only feature.
7.2 The Sampler Plug-in

The Sampler Plug-in allows you to play back any Sample in MASCHINE — including all
Groups, Sounds and Samples of the factory library. The Sampler comes with an extensive set
of parameters that offer various ways to further shape each of your Sounds individually. You
can tune, change basic dynamics and apply effects as well as different modulation options.

The Sampler Plug-in
Many of these parameters can be modulated and automated! For more information, see section
↑11.5, Recording and Editing Modulation and ↑12.2.3, Controlling Parameters via MIDI and Host
Automation, respectively.
In case MASCHINE cannot find the Sample(s) loaded in a Sampler Plug-in, a Missing Sample dia-
log will appear and help you locate the missing Sample(s) again. Please refer to section ↑4.7, Lo-
cating Missing Samples for more information.
This section describes the specific parameters found in the Sampler. For a general description
of the features and characteristics of Plug-ins (including the Sampler), please refer to section
↑7.1, Plug-in Overview.
We show here the Sampler parameters as they appear in the Control area of the Arrange view. The
Sampler also provides a custom panel in the Plug-in Strip of the Mix view. This panel is described
in section ↑13.4.3, Panel for the Sampler.
The Sampler parameters are organized in 6 pages:

▪ Page 1: Voice Settings / Engine: ↑7.2.1, Page 1: Voice Settings / Engine.
▪ Page 2: Pitch / Envelope: ↑7.2.2, Page 2: Pitch / Envelope.
▪ Page 3: FX / Filter: ↑7.2.3, Page 3: FX / Filter.
▪ Page 4: Modulation: ↑7.2.4, Page 4: Modulation.
▪ Page 5: LFO: ↑7.2.5, Page 5: LFO.
▪ Page 6: Velocity / Modwheel: ↑7.2.6, Page 6: Velocity / Modwheel.
These Parameter pages can be selected for displaying/editing via the usual way as described in
section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control
Area. For example:
► To display a particular Parameter page in the software, click its label at the top of the
Control area.

The Sampler Plug-in
7.2.1 Page 1: Voice Settings / Engine
Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE on the controller.
Sampler parameters – page 1 of 6: VOICE SETTINGS and ENGINE in the software.

The Sampler Plug-in
VOICE SETTINGS
Polyphony Here you can define a voice limit for the Sound, that is the maximum
number of voices (notes) the Sampler can play simultaneously. Once
this polyphony has been reached, triggering any additional note will
kill the “oldest” note still playing (i.e. the note that was triggered
first). The available values are 1, 2, 4, 8 (default), 16, 32, and 64.
You can also set this to Legato — in that case the polyphony is set to
1 and the Sampler performs a continuous pitch transition between
consecutive notes.
Glide If Legato is selected for the Polyphony parameter, this allows to
adjust the duration of the transition between consecutive notes.
Pitchbend Here you can adjust how the Sound reacts on incoming MIDI
Pitchbend messages from an external MIDI controller or your host
application. For more information on how to setup your Sounds to
receive MIDI, refer to section ↑12.2.1, Triggering Sounds via MIDI
Notes.
ENGINE
Mode This allows you to select between different models for the sampling
engine. Besides the default Standard setting, the other options
MP60 and S1200 emulate the sound of two legendary Samplers that
are often used in Hip-Hop and similar genres of music. The latter
comes in various flavors offering different filtering: S1200 (no
filtering), S1200 L (for Low, i.e. low-pass filtering), S1200 LM (for
Low-Mid, i.e. low-mid-pass filtering), S1200 HM (for High-Mid, i.e.
mid-high-pass filtering), and S1200 High (for High, i.e. high-pass
filtering).

The Sampler Plug-in
7.2.2 Page 2: Pitch / Envelope
Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE on the controller.
Sampler parameters – page 2 of 6: PITCH / GATE and AMPLITUDE ENVELOPE in the software.
PITCH / GATE
Tune Defines the basic pitch of your Sample: turn the knob to the right for
a higher pitch and to the left for a lower pitch.
Start Determines the start point of the Sample. This parameter can also be
modulated by the Velocity control, see ↑7.2.5, Page 5: LFO.
Reverse If Reverse is activated, the Sample will be played backwards.
Type Selects from three different types of amplitude envelopes. See below
for more information.

The Sampler Plug-in
AMPLITUDE ENVELOPE
The AMPLITUDE ENVELOPE section allows you to tailor your Sample in terms of its loudness
over time.
The Type selector.
The Type selector allows you to choose from three different types of amplitude envelopes. De-
pending on the selected type, the available parameters in the AMPLITUDE ENVELOPE section
will differ (see table below):
▪ One-shot: This is typical vintage drum machine behavior: the sample is played in its entire-
ty from beginning to end with no envelope. If One-shot is selected, the AMPLITUDE ENVE-
LOPE section doesn’t display any parameters.
▪ AHD: AHD mode disables the Sustain and Release controls of the ADSR envelope (see be-
low), and replaces them with the Hold parameter. AHD mode is ideal for “fire and forget”
behavior, whereby you would like to have the sound trigger for a certain amount of time re-
gardless of how long you hold the pad down.

The Sampler Plug-in
▪ ADSR: Typically, the ADSR envelope is used for longer, sustained Samples that require
complex dynamic control.
Unlike many other hardware devices, the pads on MASCHINE are sensitive not only to being hit, but
also to being held — so using the ADSR envelope, you can make the pads behave like a MIDI key-
board and sustain a note only for as long as it is held down.
AMPLITUDE ENVELOPE
Attack (AHD and Attack determines how quickly the Sound reaches full volume after
ADSR) being triggered.
Hold (AHD only) Hold determines how long the envelope will stay at its maximum
level.
Decay (AHD and Decay determines how fast the envelope drops to the Sustain level in
ADSR) ADSR mode; in AHD mode, it is used to adjust how fast the Sound
dies down. This parameter can also be modulated by the Velocity
control, see ↑7.2.5, Page 5: LFO.
Sustain (ADSR only) Sustain determines the constant level being kept after Decay until
the note ends. This can also be controlled by an external MIDI
controller or keyboard using the MIDI Control Change 64.
Release (ADSR only) Release determines how long the sound takes to fade out after the
note has ended.

The Sampler Plug-in
7.2.3 Page 3: FX / Filter
Sampler parameters – page 3 of 6: FX and FILTER on the controller.
Sampler parameters – page 3 of 6: FX and FILTER in the software.
FX
This is a small selection of basic effects, not to be mixed up with the collection of Effect Plug-
ins covered in depth in chapter ↑15, Effect Reference.
FX
Comp Basic compressor allowing you to give a Sound more density.
Drive Defines the amount of saturation applied to a Sound.

The Sampler Plug-in
SR SR stands for “sample rate”: you can use it to lower the original
sample rate in order to make the Sound more lo-fi.
Bits Allows you to lower the original bit depth of the Sound, resulting in a
more rough, digital sounding lo-fi effect.
FILTER
The Filter selector in the FILTER section gives you access to a set of different filters. Using the
arrows or clicking the type currently displayed, you can choose from different filter type set-
tings: Off, LP2, BP2, HP2, and EQ. Each type results in different parameters to the right of it:
Filter Modes Description

Off No filter.
LP2 LP2 is a low-pass filter with Cutoff and Resonance parameters.
Cutoff can be modulated by Velocity, the Modulation Envelope, the
LFO or the MIDI Modulation Wheel.
BP2 BP2 is a band-pass filter with a Cutoff parameter. Cutoff can be
modulated by Velocity, the Modulation Envelope, the LFO or the
MIDI Modulation Wheel.
HP2 HP2 is a high-pass filter with Cutoff and Resonance parameters.
Cutoff can be modulated by Velocity, the Modulation Envelope, the
LFO or the MIDI Modulation Wheel.
EQ The EQ is an equalizer with Frequency, Bandwidth and Gain
parameters.

The Sampler Plug-in
7.2.4 Page 4: Modulation
Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION on the controller.
Sampler parameters – page 4 of 6: MODULATION ENVELOPE and DESTINATION in the software.
MODULATION ENVELOPE
The MODULATION ENVELOPE section offers an additional envelope allowing further modifica-
tion (or “modulation”) of specific Sampler parameters according to the way you play on the
pads. Its parameters are matched to those of the AMPLITUDE ENVELOPE section on page 2
(see ↑7.2.1, Page 1: Voice Settings / Engine), so that you have either an ADSR (Attack, Decay,
Sustain, Release) envelope or an AHD (Attack, Hold, Decay) envelope to modulate your param-
eters. If you choose One-shot mode, only the AHD envelope (pictured) will be available for
modulation.
Envelope Controls Description

Attack The time it takes for the envelope to reach its maximum level.
Hold How long the envelope will stay at its maximum level.

The Sampler Plug-in
Envelope Controls Description

Decay With Decay you adjust how fast the envelope drops to the sustain
level in ADSR mode; in AHD mode it is used to adjust how fast the
envelope fades out.
Sustain The envelope level that will be maintained as long as the note is
played.
Release The time for the sustain level to return to zero after the note has
ended.
DESTINATION
This is where you define modulation targets for the modulation envelope, i.e. the parameters
you want this envelope to control. The knobs adjust the amount of modulation for the following
targets:
Parameter Modulation Destination

Pitch Tune parameter of the PITCH / GATE section on the Pitch / Envelope
page (page 2).
Cutoff Cutoff parameter of the FILTER section (with filter types LP2, HP2,
BP2 only) on the FX / Filter page (page 3).
Drive Drive parameter of the FX section on the FX / Filter page (page 3).
Pan Pan parameter on the Audio page of the Sound’s Output properties
(see ↑12.1.2, Configuring the Main Output of Sounds and Groups for
more information).

The Sampler Plug-in
7.2.5 Page 5: LFO
Sampler parameters – page 5 of 6: LFO and DESTINATION on the controller.
Sampler parameters – page 5 of 6: LFO and DESTINATION in the software.
LFO
The LFO (Low Frequency Oscillator) is another modulation source based on waveforms with
different shapes.
LFO Controls Description

Type Here you can choose the shape of the LFO waveform. Available
shapes are Sine, Tri (Triangle), Rect (Rectangle), Saw, and Random.
Speed Controls the rate of the LFO measured in hertz (Hz). If you choose to
synchronize the Speed by activating Sync, it will show note values
instead of hertz.

The Sampler Plug-in
LFO Controls Description

Phase Defines the initial phase of the LFO waveform, from -0.50 to 0.50.
Sync The Sync selector is used to synchronize the LFO with the tempo of
your Project. If Free is selected, the LFO rate is independent of the
Project tempo. If Retrig or Lock is enabled, the values of the Speed
parameter will change into note values ranging from 16/1 (= one
modulation cycle in 16 bars) to 1/32 (one cycle in 1/32nd note) and
be synced with the Project tempo. While Retrig restarts the LFO at
each new note (each note has another LFO phase), Lock keeps the
LFO phase synchronized to the song position for all notes.
DESTINATION
This is where you define modulation targets for the LFO, i.e. the parameters you want this LFO
to control. The knobs adjust the amount of modulation for the following targets:

Pitch Tune parameter of the PITCH / GATE section on the Pitch / Envelope
page (page 2).
Drive Drive parameter of the FX section on the FX / Filter page (page 3).
more information).

The Sampler Plug-in
7.2.6 Page 6: Velocity / Modwheel
Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION on the controller.
Sampler parameters – page 6 of 6: VELOCITY DESTINATION and MODWHEEL DESTINATION in the software.
VELOCITY DESTINATION
This section allows you to use the input velocity in order to modulate various parameters.

The Sampler Plug-in

Start Start parameter of the PITCH / GATE section on the Pitch / Envelope
page (page 2). Positive values shift the Sample start position later in
time as you play harder, negative values shift it closer to the
beginning of the Sample as you play harder.
Tip: a typical example for this parameter is setting it so that the
initial attack transient of a snare drum is heard only at high velocity
values. This makes it sound “snappier” when you play hard, and
“muffled” or muted when you play softly.
Decay Decay parameter of the AMPLITUDE ENVELOPE section on the
Pitch / Envelope page (page 2).
Volume This allows you to modulate the volume, which is what velocity
normally is used for.
MODWHEEL DESTINATION
Here you can determine how incoming MIDI data sent by the Modulation Wheel affects various
parameters.

Start Start parameter of the PITCH / GATE section on the Pitch / Envelope
page (page 2).
LFO Depth Use this knob to adjust how much the Modulation Wheel affects the
depth of the LFO modulation (for all targets) defined on the LFO
page (page 5).
more information).

Using Native Instruments and External Plug-ins
7.3 Using Native Instruments and External Plug-ins

MASCHINE allows you to load VST/AU plug-ins from Native Instruments (Native Instruments
Plug-ins) or any third-party manufacturer (External Plug-ins) and to use them like the MA-
SCHINE Internal Plug-ins.
As with Internal Plug-ins, the following rules apply for loading Native Instruments and External
Plug-ins:
▪ An Instrument Plug-in can be loaded only in the first Plug-in slot of a Sound.
▪ An Effect Plug-in can be loaded in any Plug-in slot of any Sound, any Group, or of the Mas-
ter.
The following sections describe additional features and tasks specific to Native Instruments
and/or External Plug-ins compared to Internal Plug-ins. For all other tasks (e.g., loading, ad-
justing Plug-in parameters, etc.), please refer to section ↑7.1, Plug-in Overview.
7.3.1 Opening/Closing Plug-in Windows

When you load a Native Instruments or External Plug-in into a Plug-in slot, you can open a
floating window containing the user interface of that Native Instruments or third-party instru-
ment/effect.
Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are auto-
matically opened in floating windows when loaded from the Plug-in menu. All other Native Instru-
ments Plug-ins as well as all External Plug-ins won’t be opened in floating windows by default —
however they will recall their last state: If such a Plug-in has previously been opened in its floating
window, when you load a new instance of the same Plug-in it will also open in a floating window.

MASCHINE showing the user interfaces of a few Native Instruments Plug-ins (MONARK, PASSIVE EQ, GUITAR RIG, and
FM8).
When a Native Instruments or External Plug-in has been loaded into a Plug-in slot, a little di-
agonal arrow appears left of the Parameter pages’ tabs, at the top of the Control area:
The little diagonal arrow next to the Parameter pages’ tabs.
► To open or close the floating window of a Native Instruments or External Plug-in, select
this Plug-in and click the little diagonal arrow at the left of the Parameter pages’ tabs (at
the top of the Control area). You can also double-click the Plug-in name in the list.

You can also close any floating window via the common button provided by your operating system at
the top left or right corner of the window.
MASCHINE will always show the open floating windows of the focused Sound, Group or Master
when selected. When you set the focus to another Sound, Group or the Master, all open float-
ing windows disappear, possibly replaced by those for Native Instruments and/or External Plug-
ins loaded in the newly focused Sound/Group/Master.
Plug-in selection is described in section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Pa-
rameter Pages in the Control Area.
Native Instruments Plug-ins: Default, Additional, and Edit View

Native Instruments Plug-ins provide the following extra features in the floating window:
▪ Plug-in Header: This is the same as in the Plug-in’s panel in the Plug-in Strip (software in
Mix view), with an additional Edit button described below. For more information, please re-
fer to section ↑13.4.4, Custom Panels for Native Instruments Plug-ins.
▪ Default view and Additional view: Each Native Instruments Plug-in can provide one or two
custom views including reduced sets of controls. The Default view is available for every Na-
tive Instruments Plug-in, while the Additional view is available for specific Native Instru-
ments Plug-ins only. If a Native Instruments Plug-in provides an Additional view, you can
switch between Default and Additional view by clicking the “+” button in the Plug-in Head-
er:
These views are also available in the Plug-in’s panel in the Plug-in Strip (Mix view in the
software). For more information, please refer to section ↑13.4.4, Custom Panels for Native
Instruments Plug-ins.

▪ Edit view: The Edit view shows the full user interface of the original Native Instruments
product. You can show/hide the Edit view by clicking the Edit button (showing a pencil
icon) in the Plug-in Header:
Opening/Closing Plug-in Windows on the Controller

On the controller, to open/close a floating window for a Native Instruments or External Plug-in
do the following:
1. Select the desired Native Instruments or External Plug-in (see section ↑3.3.9, Navigating
Channel Properties, Plug-ins, and Parameter Pages in the Control Area).
2. Press SHIFT + Button 3 (EDIT) to open the Plug-in’s user interface in a separate floating
window. Press SHIFT + Button 3 again to close the floating window.
7.3.2 Using the VST/AU Plug-in Parameters

The parameters of Native Instruments and External Plug-ins offer various ways to shape each
instrument/effect individually. Of course, you can adjust these parameters using the Plug-in’s
own user interface (see section ↑7.3.1, Opening/Closing Plug-in Windows above). But MA-
SCHINE also allows quick and convenient access to the parameters of any Native Instruments
or External Plug-in: upon loading these parameters are auto-mapped and organized into Param-
eter pages that will appear both in the software’s Control area and on your controller in Control
mode — exactly like Internal Plug-ins.
Having the Plug-in parameters on Parameter pages in MASCHINE has the following benefits:
▪ You can step through the Parameter pages and tweak each parameter on your controller via
the usual workflow directly after loading the Native Instruments or External Plug-in (see
section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Con-
trol Area).
▪ The Plug-in parameters can be automated the same way as any other parameters (see sec-
tion ↑11.5, Recording and Editing Modulation).

▪ The current state of the Plug-in parameters can be saved to the Browser as a preset for to-
tal recall of the Plug-in (see section ↑7.1.9, Saving and Recalling Plug-in Presets for more
on this).
An auto-mapped Parameter page of the Massive Plug-in in the software.
An auto-mapped Parameter page of the MASSIVE Plug-in on the controller.
Furthermore, for Native Instruments Plug-ins these Parameter pages group the Plug-in parame-
ters in an intelligent way that fits the particular workflows of each Plug-in. For example in the
MASSIVE Plug-in, the eight Macro Controls of MASSIVE will be grouped into a single Parame-
ter page, the main parameters for Oscillator 1 will be grouped into another Parameter page,
etc.
7.3.3 Setting Up Your Own Parameter Pages

As with any Plug-in, the parameters of a Native Instruments or External Plug-in are organized
into pages. Each Plug-in can have any number of pages, each containing 8 knobs, which can
be assigned to the parameters of the VST/AU instrument or effect.

Parameter pages may be assigned automatically using auto-mapping (see section ↑7.3.2, Using
the VST/AU Plug-in Parameters above) or created individually via Learn mode. With Learn
mode, you can create custom pages containing only the desired parameters arranged to fit your
personal workflow. Moreover, you can create sections of parameters within each custom Pa-
rameter page, and define custom labels for parameters, sections, and entire Parameter pages.
Note that parameters of Native Instruments and External Plug-ins are systematically assigned to
knobs (not to switches nor selectors) in MASCHINE — this is also true in the MASCHINE software.
A parameter of a Native Instruments or External Plug-in can be assigned to one knob only!
To begin assigning parameters, do the following:

1. Select the Plug-in for which you want to customize parameter assignments.
2. Click the down-pointing arrow in the bottom left corner of the Control area to reveal the
Assignment area underneath:
3. Click the Pages tab in the left part of the Assignment area:

→ The Pages tab lights up and the Pages pane appears on its right. You are now ready to
assign parameters to the Parameter pages.
The Pages tab can be clicked only for Native Instruments or External Plug-ins and for the Macro
properties. For all other Plug-ins and Channel properties, parameters and Parameter pages are not
editable, and the Pages tab is grayed out and inactive. For more information on the Macro proper-
ties and defining Macro Controls, please refer to ↑12.3, Creating Custom Sets of Parameters with
the Macro Controls.
When the Pages pane of the Assignment area is open, you also notice a few changes in the
Control area above:
1 2 3
7 6 5 4
The Control area with the Pages pane active in the Assignment area underneath.
(1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parame-
ter page.
(2) Section Label fields: These fields allow you to define sections of parameters within the dis-
played page. Double-click the field above the first parameter you want to include in the sec-
tion, type the desired name for the section, and press [Enter] to confirm. The new section will
include all following parameters until the next section starts (this can be seen only after you
have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its
section(s) — if there is more than one section, the page label will mirror all of them, separated
by slashes.

(3) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new
page. By default, pages are labeled “Page 1,” “Page 2,” etc. You can change page labels by
defining sections within your pages via the Section Label fields (2) — see above.
(4) Focus frame: Indicates the knob being assigned. Click any knob to edit its assignment.
(5) Parameter Label fields: Double-click these fields to enter custom labels for your parameters
(press [Enter] to confirm). These labels will be mirrored everywhere in MASCHINE for the cor-
responding parameters.
(6) Reset button: Click Reset to remove the assignment for the selected knob.
(7) Learn button: Click Learn to enter Learn mode. Learn mode is an intuitive learn process that
allows you to quickly assign the desired Plug-in parameters to all eight knobs of the current
Parameter page at once. When Learn mode is launched, each knob of the page is successively
focused starting with the knob selected for editing — indicated by the Focus frame (4). The
next parameter you touch in the plug-in’s user interface (see section ↑7.3.1, Opening/Closing
Plug-in Windows) will be assigned to the focused knob. Once a knob is assigned, the next knob
to the right will become the focal point, and so on until the last knob is assigned. Once com-
plete, Learn mode is automatically deactivated. Alternatively, at any time you can click Learn
again if you want to stop assigning parameters. When Learn mode is active, you can manually
change the focus of the knobs by clicking the desired knob in the Parameter area.
Once you have organized plug-in parameters into Parameter pages, you can also use MASCHINE
Macro Controls to pick the most commonly used parameters, e.g., for live performances. For more
information about Macro Controls, please refer to section ↑12.3, Creating Custom Sets of Parame-
ters with the Macro Controls.
Parameter Slots - Context Menu

When the Assignment area is opened and the Pages tab is selected, a right-click on an as-
signed or unassigned Parameter slot’s label brings up a context menu.

The parameter slots’ context menu.
The context menu contains following items:
Menu Item Description Keyboard Shortcuts

Rename Rename the Parameter. Ctrl + R / Cmd + R
Learn Activates the Learn Mode.
Reset Reset the Parameter.
Cut Cut the Parameter to paste it in Ctrl + X / Cmd + X
another position.
Copy Copy the Parameter. Ctrl + C / Cmd + C
Paste Paste a cut or copied Macro to a new Ctrl + V / Cmd + V
position. Paste is only available if an
applicable Parameter is in the
clipboard: Paste is only available on
the same Plug-in, this Plug-in can be
placed somewhere else.
Pages Name - Context Menu

When the Assignment Area is opened and the Pages tab is selected, a right-click on a Page
name at the top of the Parameter area opens a context menu.

The Parameter pages’ context menu.
The context menu contains the following items:

Delete Deletes current Page with all
assignments.
Clear All Clears all the assignments, and
deletes all of the Pages.
7.3.4 Using VST/AU Plug-in Presets

For some of your Native Instruments or third-party VST/AU plug-ins, you might already have a
set of factory or user presets (or patches, programs, etc.) that you like to use. MASCHINE lets
you directly load these presets and save them as Plug-in presets within MASCHINE. Saving
your VST/AU presets as Plug-in presets within MASCHINE will notably allow you to access
them from the MASCHINE Browser, in the software as well as from your controller!
Saving presets can be done in the MASCHINE software only.
Accessing Factory Presets of Native Instruments’ Instruments/Effects

Accessing factory presets of your Native Instruments instruments and effects is straightfor-
ward: factory presets of all Native Instruments instruments/effects installed on your computer
are already integrated into the MASCHINE library! You will find them directly in the Browser by
selecting the corresponding file type (Instruments or Effects) in the File Type selector, then se-

lecting the factory content by clicking the NI logo on the right, then choosing the desired NI
product in the drop-down list underneath — and of course, you will find all these presets in
the same locations in the Browser on your controller.
You can also add to the MASCHINE library the user presets you might have created for any Native
Instruments product installed on your computer. To do this, simply add the corresponding path(s) to
the list found on the User pane of the Library page in the Preferences panel. See section ↑3.7.4,
Preferences – Default Page for more details.
Accessing Other VST/AU Presets

To access user presets of your Native Instruments instruments/effects as well as both factory
and user presets of your third-party VST/AU plug-ins, you first need to load the corresponding
Native Instruments or External Plug-in into a Plug-in slot.
1. Load the desired Native Instruments or External Plug-in into a Plug-in slot (see section
↑7.1.3, Loading, Removing, and Replacing a Plug-in).
2. Open the Plug-in menu by clicking the little arrow at the right of the Plug-in slot.
The Plug-in menu now contains an additional Presets submenu located under the Native
Instruments and External submenus:
This submenu provides the list of all presets that your VST/AU plug-in has made available
to the host — MASCHINE in this case.
3. Select the desired preset in this submenu.
→ The preset is loaded into the Plug-in.

Each VST/AU instrument or effect might handle its presets (or patches, programs…) different-
ly. Please refer to the plug-in documentation to find out how to reveal its presets (or a particu-
lar set of presets) to the host.
For example, in MASSIVE, ABSYNTH 5, and FM8, you need to enable the Program List and fill it
up with the desired patches in order to expose these and see them appear in the Presets submenu
of the Plug-in menus in MASCHINE.
Some VST/AU plug-ins can run both as instrument and effect plug-ins. When loading a preset for
such a plug-in, check that the preset can be effectively loaded in the current Plug-in slot — in par-
ticular, take care to load presets for instruments in the first Plug-in slot of Sounds only! To avoid
any mistake, one solution is to name your VST/AU presets explicitly (e.g., by adding a suffix “[FX]”
to the effect presets).
MASCHINE allows you also to change the preset in your Native Instruments or third-party VST/
AU plug-in via MIDI Program Change messages. For more information, see section ↑12.2.3,
Controlling Parameters via MIDI and Host Automation.
Saving VST/AU Presets as MASCHINE Plug-in Presets

Once you have loaded a VST/AU preset (user preset of a Native Instruments instrument/effect
or any preset of a third-party VST/AU instrument or effect) using the method described above,
you can save it as a Plug-in preset in MASCHINE via the Save As… or Save As Default… com-
mands of the Plug-in menu (see section ↑7.1.9, Saving and Recalling Plug-in Presets). Once
this is done, your preset will be available as a user preset in the Instrument or Effect category
of the MASCHINE Browser.
7.3.5 Multiple-Output Plug-ins and Multitimbral Plug-ins

MASCHINE allows an extended use of multiple-output Plug-ins as well as multitimbral Plug-
ins.
Multiple-Output Plug-ins
Multiple-output Plug-ins are Plug-ins with more than one audio stereo output.
When a multiple-output Plug-in is loaded into a Sound, MASCHINE uses its available outputs
as follows:

▪ The Plug-in’s first output pair is inserted in the usual Plug-in signal chain: This output pair
is fed into the input of the next Plug-in slot (or sent to the channel output if the Plug-in is
in the last Plug-in slot).
▪ The Plug-in’s additional outputs are made available as audio sources for other Sounds of
the same Group (they appear in the Source menu in the Audio page of the Input properties
for these Sounds). This can be used to build advanced routings in MASCHINE. For more
information on configuring audio inputs for Sounds, please refer to section ↑12.1.1, Send-
ing External Audio to Sounds.
Multitimbral Plug-ins
Multitimbral Plug-ins are Plug-ins that can receive MIDI on top of the host control.
When a multitimbral Plug-in is loaded into a Sound, the other Sounds of the same Group can
send MIDI data to this Plug-in: The Plug-in will appear as additional port in the Dest. menu on
the MIDI page of the Output properties for these Sounds. For more information on configuring
MIDI output for Sounds, please refer to section ↑12.2.5, Sending MIDI from Sounds.

Using the Audio Plug-in
8 Using the Audio Plug-in
The Audio Plug-in can playback Samples (drums, percussion, basslines, guitar riffs, etc.) in
sync with the tempo of your Project. It has two modes: Loop mode and Gate mode.
▪ Loop mode is the default setting where the loaded loop will play continuously whenever
there is an active Pattern in the Group. You can see the waveform of the Sample in the
Pattern Editor to understand how it aligns with the Pattern.
▪ Gate mode is similar to the Loop mode where the loaded loop will play continuously. How-
ever, the loop will only be audible in locations where you place notes in the Pattern. Fur-
thermore, when using Stretch mode the pitch of the loop will be transposed based on the
pitch of the note (e.g. note C3 will play the Sample at its original pitch, while C4 plays the
Sample one octave higher than normal).
The Audio plug-in specializes in keeping audio loops playing in-sync with your Project, and has
the optional ability to do so without influencing the key of the loop. Furthermore, you can
transpose the loop while it plays so that it fits the key of your song.
You can quickly audition your Samples from within the Browser and then drag and drop them
directly onto a Sound. If you drag a Sample containing the Loops tag onto an empty Sound the
Audio module will load automatically.
Once a loop has been loaded, it will appear as a waveform of the Sample in the Pattern Editor,
allowing you to edit the Sample by adjusting the Patten Length, the overall tuning, adjust the
source tempo and length of the Sample, or add MIDI events to regions of the loop for selective
playback and pitching. For more fine adjustments you can edit events in a close-up view by
toggling the close-up view in the Pattern editor.
For more information on recording your own loops, refer to the chapter: ↑17, Sampling and Sample
Mapping.
Loading the Audio Plug-in

The Audio Plug-in can be loaded onto any Sound within a Group. As a MASCHINE Plug-in, it
supports all usual Plug-in workflows. Hence, to know how to load, remove, replace, insert,
move, copy/paste the Audio Plug-in, as well as how to adjust the Audio Plug-in parameters and
load/save default presets, refer to the section ↑7, Working with Plug-ins.

Once an Audio Plug-in is loaded it becomes visible in both the MASCHINE software and on the
controller.
MASCHINE Audio Plug-in
Here is an overview of the Audio Plug-in parameters:
Element Description
PLAYBACK Section
Mode Select the mode of playback: Loop or Gate.
Loop: The default mode for playback, in this mode the Sample is
heard with the Pattern (as with any regular MIDI event) without the
need to trigger it. In this mode, Playback and Source parameters can
be manipulated such as Tune, Pitchbend, Tempo, and Length.
Gate: When Gate mode is selected the Sample is only heard when
triggered by a MIDI note event. The Sample is heard for the duration
of the MIDI note event, and the note can also be used to pitch the
Sample for melodic effect.
Fade (Gate mode only) Set a simple fade-in/fade-out amount to avoid pops or clicks that may
occur when using the Gate mode. To increase the fade of Gate mode,
turn the Fade knob clockwise by clicking and dragging upwards. To
decrease the fade, turn the Fade knob counter-clockwise by clicking
and dragging downwards. Press the [SHIFT] key on your computer
keyboard while turning the knob to increase or decrease the fade in
finer increments.

Element Description
Tune Transpose the tune (range: -36 – +36 semitones) of the Audio Plug-
in. You can use this knob to set the playback pitch of the loop to 'C',
and then the loop's pitch will match the pitch of Notes programmed
into the Pattern.
To increase the tuning of the Sample in semitones, turn the Tune
knob clockwise by clicking and dragging upwards. To decrease the
tuning of the Sample in semitones, turn the Tune knob counter-
clockwise by clicking and dragging downwards. Press the [SHIFT] key
on your computer keyboard while turning the knob to increase or
decrease the tuning in cents.
Pitchbend Set the Pitchbend range (-12 – +12) for the Audio Plug-in which is
relative to the Tune. This parameter controls the effect of the Pitch
Wheel/Slider on your MIDI controller.
To increase the range of the Pitchbend, turn the Pitchbend knob
clockwise by clicking and dragging upwards. To decrease the range of
the Pitchbend, turn the Pitchbend knob counter-clockwise by
clicking and dragging downwards. Press the [SHIFT] key on your
computer keyboard while turning the knob to increase or decrease the
Pitchbend range in cents.
ENGINE Section
Re-pitch This playback engine simply matches the tempo of the Loop to the
Project’s tempo by changing the playback rate of the Loop, and
playback rate changes will result in pitch changes to the loop. Like a
vinyl record, playing it faster will also cause the pitch of the loop to
rise, whereas slowing it down causes the overall pitch to drop. This
mode is therefore more suitable for non-pitched material, like drums
and percussion, and has the benefit that the transients of sounds
remain sharp and also uses significantly less CPU than the other
Engine modes. Since tempo and pitch are not independently
adjustable with this Engine, any pitch automation you may have done
via Events entered in Gate mode will be ignored, only the rhythm of
the Events will be used to gate the Loop on and off.

Element Description
Stretch This playback engine provides complete independence between
tempo and pitch. With this engine, you can change the tempo of a
loop without changing its pitch, you can change its pitch without
changing its tempo, or you can change both the tempo and pitch
simultaneously. This mode even allows you to automate pitch
changes by entering Events into the Pattern Editor while using Gate
mode. As this mode provides complete tempo and pitch
independence, and also works on polyphonic material, it requires
more CPU power than other Engines.
Formant This playback engine is best suited to pitched (tonal) audio as it
preserves the formant of the sound. By preserving the formant, it
retains the intrinsic character and avoids any shifts in pitch that
would normally result in the undesirable cartoonlike effects on vocals
when they are pitched upwards or downwards.
SOURCE Section
Tempo Set the original tempo of your Sample so that the Audio Plug-in can
accurately play it in sync, no matter what tempo you choose for your
Project. This is useful if MASCHINE has miscalculated the tempo
while importing the Sample. However, be aware that changing Tempo
during playback could affect the synchronization of your Sample.
To increase Tempo click and drag upwards. To decrease the Tempo,
click and drag downwards. Press the [SHIFT] button on your
computer keyboard while dragging to set finer increments.
Length Set the original length of your Sample so that the Audio Plug-in can
accurately play it in sync, no matter what tempo you choose for your
Project. This is useful if MASCHINE has miscalculated the length
while importing the Sample. However, be aware that changing Length
during playback could affect the synchronization of your Sample.
To increase Length click and drag upwards. To decrease the Length,
click and drag downwards. Press the [SHIFT] key on your computer
keyboard while dragging to set finer increments.

Loading a Loop into the Audio Plug-in
8.1 Loading a Loop into the Audio Plug-in

You can use the Sampler Plug-in to record sound directly from a microphone, or from an elec-
tric instrument (such as an electric guitar) connected to your soundcard, to create your own
loops. Alternatively, you can quickly audition loops within the MASCHINE Library by using the
Loops tag in the Browser to find one you want. To learn how to filter for loops using the Brows-
er, refer to the section ↑4.2.6, Selecting Type and Mode Tags.
It is possible to load a Sample tagged as Loops directly from the Browser by dragging and
dropping it onto an empty Sound, which will place the Sample directly within the Pattern. As
the Sample is loaded into the Pattern a waveform of the Sample will become visible and MA-
SCHINE will seamlessly determine tempo information from the Sample and automatically time
stretch it to fit the tempo of your Project. You can begin playback immediately after it has
loaded.
Pattern Editor with the Audio Plug-in in Loop mode loaded on Sound 4.

Editing Audio in the Audio Plug-in
By default the Audio Plug-in will playback in Loop mode, meaning the Sample will be repeated
for the duration of the Pattern regardless of the length of the Sample. If you want to chop the
loop and pitch it, switch to Gate mode. For more information on Gate mode, refer the following
section ↑8.3, Using Loop Mode.
If you are using a Sample with the Sampler Plug-in and decide you want to use it with the Audio
Plug-in, you can quickly switch from one Plug-in to another using the controller. This functionality
can be handy if attempting to load a loop which does not have the Loops tag as these files will load
into the Sampler Plug-in if they are missing the Loops tag. For more information on selecting plug-
ins, refer to the section ↑7.1.3.1, Browser Plug-in Slot Selection.
8.2 Editing Audio in the Audio Plug-in

The Audio Plug-in contains an Edit tab which, when clicked, opens the audio plug-in editing
features. Here you can change the Playable Range Start and End markers to isolate only a por-
tion of the loaded audio file that you wish to loop, and also perform destructive audio edits to
loops loaded into the Audio plug-in.
To access the Audio Plug-in Editor in the software, do the following:
1. In the Sound List left of the Pattern Editor, click the desired Sound to put it under focus.
For more details on how to set the focus to a Sound, please see section ↑3.3.7, Focusing
on a Group or a Sound.
2. Click the Sample Editor button on the left of the Pattern Editor to switch to the Sample
Editor.
The Sample Editor appears and displays the Sample content of the focused Sound.
3. In the Sample Editor, click the desired tab at the top to access the corresponding page:
▪ The Record page allows you to record audio: ↑17.2, Recording Audio.

Using Loop Mode
▪ The Edit page allows you to apply destructive edits to existing audio: ↑17.3, Editing a Sam-
ple.
The destructive audio editing features here are the same as those found in the Sample Editor,
for more information on using the destructive audio editing features, refer to ↑17.3, Editing a
Sample.
8.3 Using Loop Mode

Loop mode is the default mode for the Audio Plug-in and is used to playback an audio file in
time with your Project. When loaded into a Sound, the audio appears as a waveform in the Pat-
tern Editor and is repeated for the entirety of the Pattern. A detailed overview of the waveform
is displayed in Keyboard view.
If the Pattern Length is decreased to a length shorter than the audio, Pattern playback will end
up looping back to the start before the entire audio has played, the Pattern Length must be at
least as long as the audio in order to hear the entire audio playing in the Pattern. If the Pattern
Length is increased to a length longer than the audio, the audio will be automatically looped as
needed to fill the entire length of the Pattern, and these iterations will be visualized with dark-
er versions of the waveform. For more information on changing the Pattern Length, refer to the
section ↑11.1.6, Adjusting the Arrange Grid and the Pattern Length.
The process of using Loop mode is as follows; load an audio file onto a Sound, select Loop
mode from the parameters of the Audio Plug-in.

Using Loop Mode
The Audio Plug-in with a bass recording in Loop mode.
Enabling and Disabling Audio per Pattern

When using Loop mode with the Audio plug-in, it is possible to enable and disable audio in the
current Pattern in the Pattern Editor. By default, when audio is recorded using the Audio plug-
in, or if it is tagged as a ‘Loop’ and loaded directly from the Browser, it will be enabled in the
Pattern and play back when you press Play.
To disable audio and temporarily remove it from the Pattern simply double-click its waveform.
By clicking the same area again the audio can be reactivated for the Pattern.

Using Gate Mode
8.4 Using Gate Mode

Gate mode is used to chop and pitch selected parts of your Sample by applying MIDI note
events in the Keyboard view of the Pattern Editor or by recording them using your controller.
Each event is a gate for the Sample; the length determines the duration of playback, and
placement on the scale determines the pitch. By chopping and pitching the loop you can cre-
ate melodies or even use it for effect on drums.
In Keyboard view, MIDI note events are visually layered on top of the Samples’ waveform and
can be edited or deleted at any time, and more importantly, the Sample can be changed at any
time while retaining the MIDI note events in the Pattern, meaning you can keep the phrasing
and melody but use a different Sample for the playback.
Gate mode in the Pattern Editor with a Sample and MIDI events.

Using Gate Mode
The process of using Gate mode is as follows; load a loop onto a Sound, select Gate mode from
the parameters of the Audio Plug-in and then add MIDI events in the Pattern in the regions
where you want to chop and pitch your Sample, or press play on your controller and use the
pads to pitch the Sample. For more information on recording and editing events, refer to chap-
ter ↑11, Working with Patterns.
To zoom into a Pattern, double-click on the vertical scroll bar to the right of the Pattern Editor.

Using the Drumsynths
9 Using the Drumsynths
Drumsynths are a powerful set of monophonic Internal Instrument Plug-ins (i.e. Instrument
Plug-ins included with MASCHINE) that allow you to generate individual, fine-tuned drum
sounds for your music productions. Like any other Instrument Plug-in, you can load them only
in the first Plug-in slot of Sounds.
Drumsynths have been designed for extreme playability, both from the high-quality pads of
your MASCHINE controller and from any velocity-sensitive MIDI keyboard. They allow you to
quickly build custom drum sounds and give you full control over the characteristics of the vari-
ous drums — don’t hesitate to tweak them during your live performance or automate them like
any other Plug-in!
See section ↑11.5, Recording and Editing Modulation for more information on automation.
In this chapter you will find:

▪ An overview of the Drumsynths and a presentation of their common features: ↑9.1, Drum-
synths – General Handling.
▪ A detailed description of each particular Drumsynth:
◦ The Kick Plug-in: ↑9.2, The Kicks.
◦ The Snare Plug-in: ↑9.3, The Snares.
◦ The Hi-hat Plug-in: ↑9.4, The Hi-hats.
◦ The Tom Plug-in: ↑9.5, The Toms.
◦ The Percussion Plug-in: ↑9.6, The Percussions.
We describe here the specific handling and parameters of the Drumsynths. For a description of the
features and characteristics of Plug-ins in general (including the Drumsynths), please refer to sec-
tion ↑7.1, Plug-in Overview.

Drumsynths – General Handling
9.1 Drumsynths – General Handling

This section describes the general use and features of the Drumsynths.
Managing Drumsynths
Drumsynths are MASCHINE Plug-ins and, as such, they support all usual Plug-in actions and
procedures. Hence, to know how to load, remove, replace, insert, move, copy/paste Drum-
synths, as well as how to adjust the Drumsynth parameters and load/save presets, please refer
to section ↑7.1, Plug-in Overview, where these are described in detail.
9.1.1 Engines: Many Different Drums per Drumsynth

Each of the available Drumsynths (Kick, Snare, Hi-hat, Tom, and Percussion) actually provides
many different drums: Indeed, each Drumsynth allows you to select a particular engine for gen-
erating the drum sound. In the same Drumsynth each engine will have its own algorithm, pa-
rameters, and sonic characteristics — it is in fact an entirely distinct drum. For example, the
Kick provides eight different engines! Some engines will create acoustic drums while others
will rather produce electronic sounds.
In each Drumsynth the first parameter (Engine) lets you select the engine you want to use.
Most of the other parameters will depend on the selected engine.
9.1.2 Common Parameter Organization

All Drumsynths have a similar parameter organization, both in the Control area of the Arrange
view and in the Plug-in Strip of the Mix view.
Common Parameter Pages in the Control Area (Arrange View)

In Arrange view, the parameters of all Drumsynths are grouped in similar ways in the Control
area:

All Drumsynths share the same parameter organization in the Control area.
▪ Their parameters are grouped into the same three Parameter pages:
◦ The Main page groups the most important parameters for each drum type. Here you
can select the engine to be used, the tuning, the decay, etc.
◦ The Advanced page provides access to more complex and finer adjustments to the
drum sounds.
◦ The Modulation page allows to adjust the playability of the drum by setting its velocity
response.
▪ The Main page always starts with a MAIN section. The other sections on the page differ with
each Drumsynth and engine.
Common Layout in the Plug-in Strip (Mix View)

In Mix view, the Plug-in panels of all Drumsynths have a similar layout in the Plug-in Strip:

All Drumsynths share the same global layout in the Plug-in Strip.
▪ In the top part of the panel you can adjust the Tune parameter, select the desired engine,
adjust the velocity response, and adjust the Decay parameter (or the Filter parameter for
the Shaker engine of the Percussion).
▪ In the bottom part of the panel you find the other parameters adjusting the sound of the
selected engine.
For more information on the various Plug-in panels found in the Plug-in Strip, please refer to sec-
tion ↑13.4, The Plug-in Strip.

9.1.3 Shared Parameters

Within each Drumsynth, some parameters are shared between several engines (e.g., the Tune
parameter). Shared parameters have the advantage of keeping their position when you switch to
another engine in the Drumsynth. This allows you to compare the sound of various engines
more easily.
The ranges of some shared parameters are different across engines. For example this is the case of
the Tune parameter: When switching to another engine, the tuning might not stay the same al-
though the knob position is kept.
Determining which parameters are shared among engines is straightforward: If you find a pa-
rameter in more than one engine, it is shared between these engines.
If you switch to another Drumsynth (e.g., if you replace the Kick sitting in a Plug-in slot with a Hi-
hat) parameter positions will not be kept!
9.1.4 Various Velocity Responses

Each engine of each Drumsynth has a different response to the velocity of the notes you are
playing. Globally, engines can be grouped into two general categories:
▪ Acoustic sounding engines are heavily velocity-dependant: the velocity affects many charac-
teristics of the generated sound, which allows you to play these drums very expressively.
▪ Electronic sounding engines are generally less velocity-dependent. Most of them only use
velocity to modulate the output volume of the sound.
The overall velocity sensitivity for both acoustic and electronic types of engines can be adjust-
ed on the Modulation page via the Velocity control.
9.1.5 Pitch Range, Tuning, and MIDI Notes

All Drumsynths can be played chromatically: the pitch of the sound will be affected by the
notes that you play on your MIDI keyboard (or on your pads in Keyboard mode).

The Kicks
For all engines, the Tune parameter lets you define which pitch will be played when hitting the
pad of that Sound (with pads in Pad Mode) or playing the middle C (MIDI note 60) base note.
In the MASCHINE convention the MIDI note 60 is noted C3.
The engines have different pitch ranges:

▪ Most engines have limited pitch ranges: For example, in the Snare, the Chrome engine can
play pitches from MIDI note 60 to 84, while the Iron engine can play pitches from MIDI
note 46 to 70. If the pitch of an incoming MIDI note falls outside the pitch range of the
engine, the pitch will be bounded to that engine’s allowable pitch range.
▪ Some engines have an unlimited pitch range: For example the Kick’s Sub engine, the Tom’s
Fractal and Tronic engines, and the Percussion’s Fractal engine.
In some drum engines it is impossible to set an exact tuning in MIDI notes. For them the Tune
parameter is set in percents (from 0 % to 100 %).
9.2 The Kicks

The Kick Drumsynth can generate a myriad of kick sounds.
The Kick in the Control area (Main page depicted).

The Kicks
The Kick panel in the Plug-in Strip.
As in every Drumsynth, the engine can be selected via the Engine selector on the Main page.
Each engine has a different character and set of parameters, as detailed in the following sec-
tions.
The Kick provides following engines:
▪ Sub (default): ↑9.2.1, Kick – Sub.
▪ Tronic: ↑9.2.2, Kick – Tronic.
▪ Dusty: ↑9.2.3, Kick – Dusty.
▪ Rasper: ↑9.2.5, Kick – Rasper.
▪ Snappy: ↑9.2.6, Kick – Snappy.

The Kicks
▪ Bold: ↑9.2.7, Kick – Bold.

▪ Maple: ↑9.2.8, Kick – Maple.
▪ Push: ↑9.2.9, Kick – Push.
For more information on engines, see ↑9.1.1, Engines: Many Different Drums per Drumsynth. For
general information on the Kick and the other Drumsynths, see ↑9.1, Drumsynths – General Han-
dling.
9.2.1 Kick – Sub

The Sub engine is the default engine of the Kick.
Based on the kick from a classic analog drum machine, the Sub kick is a clean, subby, sine-
based kick drum which can be very effectively abused as a sub bass, tom or even a bleepy lead
if tuned up and played chromatically on the keyboard.
The parameters described below are presented as they appear in the Control area (Arrange view).
The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See
↑13.4, The Plug-in Strip for more information on this.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Kick Plug-in. If you change this
setting, please refer to ↑9.2, The Kicks.
Tune Adjusts the pitch of the drum played by the middle C, measured in
MIDI note numbers and cents. Available values range from 31.00 to
55.00. The default value is 43.00. For more details see ↑9.1.5,
Pitch Range, Tuning, and MIDI Notes.
Decay Adjusts the duration of the sound’s tail, measured as a percentage.
Available values range from 0.0 to 100.0 % (default: 50.0 %).

The Kicks
Element Description
Bend Adjusts the amplitude of the pitch envelope applied throughout the
sound duration (punch), measured as a percentage. Available values
range from 0.0 to 100.0 % (default: 6,8 %). At zero, the sound
stays at its original pitch during its entire decaying phase. As the
Bend value is increased, an increasing amount of pitch envelope is
applied. This means that the pitch of the drum starts at a higher
value and falls to the original value as the sound decays. The
greater the Bend value, the higher the starting pitch.
Time Adjusts the decay time of the pitch envelope, measured as a
percentage. Available values range from 0.0 to 100.0 % (default:
30 %). Note that if the Time value is too long compared to the
Decay value, you won’t hear the entire pitch drop but only its
beginning — i.e. you will hear a higher pitch than the one set by
Tune.
ATTACK Section
Mode Selects the style of the attack: Thin selects a thin-sounding click,
Thick selects a slightly rounder click with added noise, and Noise
uses just a noise burst for a less clicky attack.
Color Only available if Thick or Noise is selected in the Mode selector.
Adjusts the color of the attack, measured as a percentage. Available
values range from 0.0 to 100.0 % (default: 50.0 %). At lower
values the attack is duller. Increase the Color value to get a more
incisive attack.
Amount Adjusts the level of the attack. Available values range from 0.0 %
(soft attack) to 100.0 % (maximum attack). The default value is
50.0 %.
Advanced Page
For this engine the Advanced page does not contain any parameters.

The Kicks
Modulation Page
As with all other engines and Drumsynths, the Modulation page contains one parameter: Veloc-
ity.
Element Description
SCALE Section
Velocity Adjusts the velocity response of the drum. Available values range
from -100.0 % to 100.0 % (default value). At zero (mid course),
the drum is played at full velocity, no matter how hard you hit the
keys (or pads). From that mid position, by turning the knob to the
right you increase the positive velocity response and make the drum
more and more sensitive to the velocities at which you hit the keys/
pads. From the mid position, turning the knob to the left as the
inverse effect: the harder you hit the key/pad, the softer the
resulting drum sound will be.
9.2.2 Kick – Tronic

Fat, punchy and warm, the Tronic kick is based on another classic analog kick drum which has
provided the backbone to countless dance and electronic records for the past 30 years. The
Tronic kick takes this classic a step further with extended parameter ranges and chromatic
playability, but also adds a specially designed distortion section capable of a wide range of tex-
tures, from subtly rounded to all-out gabber assault.
Main Page
Element Description
MAIN Section

The Kicks
Element Description
Bend Adjusts the amount of pitch envelope applied throughout the sound
duration, measured as a percentage. Available values range from
0.0 to 100.0 % (default: 6.8 %). Low values give a more gentle
sound. As Bend is increased, the kick becomes more punchy; at
higher values, the pitch envelope is more clearly audible as an
actual pitch bend.
Impact Adjusts the amount of attack. Available values range from 0.0 %
(soft attack) to 100 % (maximum attack). The default value is
75.0 %.
Advanced Page
The Advanced page contains controls for the distortion.
Element Description
DISTORTION Section
Gain Adjusts the distortion gain, measured as a percentage. Available
values range from 0.0 to 100.0 % (default: 70.0 %). Increase Gain
to get a more distorted drum sound.
Tone Adjusts the color of the distortion, measured as a percentage.

The Kicks
Element Description
Bias Adjusts the timbre of the distortion, measured as a percentage.
Available values range from 0.0 to 100.0 % (default: 50.0 %). At
zero, the distortion is symmetrical and introduces mostly odd
harmonics. As the Bias value is increased, the distortion becomes
more asymmetric and more even harmonics are introduced,
resulting in a different tonality, especially at more subtle Gain
settings.
Mix Adjusts the mix between the clean and distorted signal, measured
as a percentage. Available values range from 0.0 to 100.0 %
(default: 50.0 %). At zero, none of the distorted drum will be heard.
At 100.0 %, only the distorted drum will be heard.
Changes to the distortion parameters are only audible when the Mix parameter is set above 0 %.
Modulation Page
ity.
Element Description
SCALE Section

The Kicks
9.2.3 Kick – Dusty

The Dusty kick is an electronic kick with an organic feel. It’s capable of broken, dusty sounds
but can also open up to a thundering warehouse boom.
Main Page
Element Description
MAIN Section
Tune Adjusts the pitch of the drum played by the middle C, measured as
a percentage. Available values range from 0.0 to 100.0 % (default:
50.0 %). For more details see ↑9.1.5, Pitch Range, Tuning, and
MIDI Notes.
Impact Adjusts the amount of attack and click, measured as a percentage.
Available values range from 0.0 % (soft attack) to 100.0 %
(maximum attack). The default value is 75.0 %.
CHARACTER Section
Filter Adjusts the timbre of the drum, measured as a percentage.
Increase the value to produce richer high frequencies.
Noise Adjusts the amount of noise, measured as a percentage. Available
values range from 0.0 to 100.0 % (default: 10.0 %).

The Kicks
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.2.4 Kick – Grit

The Grit kick is a modern electronic kick drum to suit a wide range of styles. It’s quite versa-
tile: with a long decay it has a deep, boomy and airy tonality, but tightened up, it can thump
with the best of them. At high tunings, especially with extreme “Aero Grind” and “Aero
Amount” values, it becomes very gritty and bitcrushed, great for IDM and electro.
The same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view) — for
more information please refer to section 9.4 “The Plug-in Strip” in the MASCHINE 2.0 Manual.

The Kicks
Main Page
Element Description
MAIN Section
setting, please refer to section 10.2 “The Kicks” in the
MASCHINE 2.0 Manual.
55.00. The default value is 43.00.
Available values range from 0.0 to 100.0% (default: 50.0%).
Bend Adjusts the amount of pitch envelope applied to the kick, measured
as a percentage. Available values range from 0.0 to 100.0%
(default: 6.8%).
Impact Adjusts the amount of click or initial attack, measured as a
percentage. Available values range from 0.0 to 100.0% (default:
75.0%).
Gate When enabled, the decay of the drum is choked by the end of the
note. When disabled, the drum plays as a one-shot sound, i.e. until
the end of its tail, no matter when the note is released, although the
sound duration will still depend on the Decay parameter (see
above). Switching Gate on and setting the Decay parameter to a
high value while playing short notes can result in a punchier, more
aggressive character than simply using short Decay values with Gate
off.
AERO Section

The Kicks
Element Description
Grind Adjusts the grittiness of the “aero” component of the sound,
measured as a percentage. Available values range from 0.0 to
100.0% (default: 45.0%). Low values produce a boomy
reverberation. High values result in a crushed, digital “air”
squashed into the drum sound. Note that this parameter will only
have an effect if Amount is set to a non-zero value (see below).
Amount Controls the amount of air or grit in the kick sound, measured as a
20.0%).
Advanced Page
Modulation Page
Like with all other engines and Drumsynths, the Modulation page contains one parameter: Ve-
locity.
Element Description
SCALE Section
from -100.0% to 100.0% (default value). At zero (mid course), the
drum is played at full velocity, no matter how hard you hit the keys
(or pads). From that mid position, by turning the knob to the right
you increase the positive velocity response and make the drum more
sensitive to the velocity at which you hit the keys/pads. From the
mid position, turning the knob to the left as the inverse effect: the
harder you hit the key/pad, the softer the resulting drum sound will
be.

The Kicks
9.2.5 Kick – Rasper

The Rasper kick is an acoustic bass drum emulation providing a unique and organic sound that
can be easily adapted into Drum’n’Bass or Dubstep productions. Its two crispness modes allow
for a wide range of bass drums.
Main Page
Element Description
MAIN Section
Punch Simultaneously adjusts the amount of the pitch envelope and the
amount of noise of the attack. Available values range from 0.0 to
100.0 % (default).
Impact Adjusts how hard the drum is hit. Available values range from
0.0 % (softest) to 100.0 % (hardest). The default value is 75.0 %.
CRISPNESS Section
Mode Selects from two different crispness modes: Select A (default) for a
tambourine-like sound, and select B for a snare-like sound.

The Kicks
Element Description
Decay Adjusts the duration of the crispness effect, measured as a
34.0 %).
Amount Adjusts the amount of crispness, measured as a percentage.
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.2.6 Kick – Snappy

The Snappy kick is an acoustic bass drum emulation that provides control over the mic oscilla-
tion before the hit via the Snap control. It’s capable of a mid-range bass drum sound that can
be tweaked via the extended punch parameters.

The Kicks
Element Description
MAIN Section
Snap Emulates the air movement caused by the beater before the drum is
hit. Therefore, it produces a snap in the waveform the length of
which can be controlled through this parameter. Available values
range from 0.0 to 100.0 % (default: 50.0 %).
Impact Adjusts how hard the drum is hit, measured as a percentage.
Available values range from 0.0 % (softest) to 100.0 % (hardest).
The default value is 75.0 %.
PUNCH Section
Mode Selects from two different punch modes: A (default) and B.
Decay Adjusts the duration of the punch, measured as a percentage.
Amount Adjusts the amount of punch, measured as a percentage. Available
values range from 0.0 to 100.0 % (default).
Advanced Page

The Kicks
Modulation Page
ity.
Element Description
SCALE Section
9.2.7 Kick – Bold

The Bold kick is an acoustic bass drum emulation that provides an aggressive character and a
punchy and dirty sound. It is capable of a range of sounds, from rock-like kicks to more snappy
and tight sub-kicks.
↑9.1.5, Pitch Range, Tuning, and MIDI Notes for more information on this.
Main Page
Element Description
MAIN Section

The Kicks
Element Description
MIDI Notes.
Punch Simultaneously adjusts the amplitude and decay time of the noise
in the attack. Available values range from 0.0 to 100.0 % (default).
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section

The Kicks
9.2.8 Kick – Maple

The Maple kick is an acoustic bass drum emulation that provides a realistic and organic sound.
It is suitable for any production where a supporter kick is needed. It fits perfectly with acoustic
instruments and its room parameters make it fit seamlessly into any mix.
↑9.1.5, Pitch Range, Tuning, and MIDI Notes for more information on this.
Main Page
Element Description
MAIN Section
Skin Tune Adjusts the fine-tuning of the skin of the drum, measured as a
50.0 %).
ROOM Section
Mode Selects from two different noise types that simulate the room in
which the drum is played. Available modes are A (default) and B.

The Kicks
Element Description
Size Adjusts the size of the room, measured as a percentage. Available
Amount Adjusts the amount of room effect applied to the drum sound,
100.0 % (default: 75.0 %).
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.2.9 Kick – Push

The Push kick is an acoustic bass drum emulation that provides an aggressive and brazen
sound. It is essential for mixes where a dirty, tight and powerful kick is required. Its versatility
also allows for noisy and clicky kicks.

The Kicks
Main Page
Element Description
MAIN Section
MIDI Notes.
Punch Simultaneously adjusts the amount of the pitch envelope and the
amount of noise of the attack. Available values range from 0.0 to
100.0 % (default).
Advanced Page
Modulation Page
ity.

The Snares
Element Description
SCALE Section
9.3 The Snares

The Snare Drumsynth can generate a multitude of snare sounds.
The Snare in the Control area (Main page depicted).

The Snares
The Snare panel in the Plug-in Strip.
As with every Drumsynth, the engine can be selected via the Engine selector on the Main page.
tions.
The Snare provides following engines:
▪ Volt (default): ↑9.3.1, Snare – Volt
▪ Bit: ↑9.3.2, Snare – Bit
▪ Pow: ↑9.3.3, Snare – Pow
▪ Sharp: ↑9.3.4, Snare – Sharp
▪ Airy: ↑9.3.5, Snare – Airy

The Snares
▪ Vintage: ↑9.3.6, Snare – Vintage

▪ Chrome: ↑9.3.7, Snare – Chrome
▪ Iron: ↑9.3.8, Snare – Iron
▪ Clap: ↑9.3.9, Snare – Clap
general information on the Snare and the other Drumsynths, see ↑9.1, Drumsynths – General Han-
dling.
9.3.1 Snare – Volt

The Volt engine is the default engine of the Snare.
The Volt snare is an electronic snare based on a family of analog classics.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Snare Plug-in. If you change this
setting, please refer to ↑9.3, The Snares.

The Snares
Element Description
MIDI note. When disabled (default), the drum plays as a one-shot
sound, i.e. until the end of its tail, no matter when the note is
released.
Osc Mode Selects the oscillator mode: If you select Tonal (default), the engine
uses two oscillators running in parallel, the higher of which is extra
sensitive to velocity for increased expressivity. If you select Punchy,
the engine uses one oscillator with a pitch envelope.
Osc Mix Only available if Tonal is selected in the Osc Mode selector (see
above). Adjusts the mix between both oscillators, measured as a
50.0 %).
Punch Only available if Punchy is selected in the Mode selector (see
above). Adjusts the amplitude of the pitch envelope (punch),
100.0 % (default: 25.0 %).
NOISE Section
Color Adjusts the tone of the “snare” portion of the sound, measured as a
50.0 %).
Amount Adjusts the level of the “snare” portion of the sound, measured as a
25.0 %).
Advanced Page
Modulation Page
ity.

The Snares
Element Description
SCALE Section
9.3.2 Snare – Bit

The Bit snare is a thin, harsh, digital snare.
Main Page
Element Description
MAIN Section
a percentage. Available values range from 0.0 % to 100.0 %
(default: 50.0 %). For more details see ↑9.1.5, Pitch Range,
Tuning, and MIDI Notes.
Decay Adjusts the duration of the sound’s tail, measured as a percentage
(default: 50.0 %).

The Snares
Element Description
MIDI note. When disabled (default), the drum plays as a one-shot
released.
Grit Adjusts the intensity of the bitcrushing, measured as a percentage.
Available values range from 0.0 to 100.0 % (default: 30 %).
NOISE Section
Color Adjusts the tone of the digital noise, measured as a percentage.
Amount Adjusts the level of the digital noise, measured as a percentage.
Advanced Page
Modulation Page
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Element Description
SCALE Section

The Snares
9.3.3 Snare – Pow

The Pow snare is a shot of filtered noise, useful as an electro snare, an effect or a layer in a
combined snare sound.
Main Page
Element Description
MAIN Section
Decay Adjusts the duration of the sound’s tail, measured as a percentage
(default: 50.0 %).
Bend Adjusts the pitch sweep of the sound, measured as a percentage.
Available values range from -100.0 % to 100.0 % (default: 0.0 %).
Focus Adjusts the attack of the sound as well as the speed and shape of
the pitch envelope, to produce a different quality of attack and
sharpness. Available values range from 0.0 to 100 % (default:
50.0 %).
Advanced Page

The Snares
Modulation Page
ity.
Element Description
SCALE Section
9.3.4 Snare – Sharp

The Sharp snare is an acoustic snare drum emulation inspired by the sound of 1970s disco
snares.
Main Page
Element Description
MAIN Section

The Snares
Element Description
Available values range from 0.0 % to 100.0 % (default: 50.0 %).
50.0 %).
Body Adjusts the level of the snare body independently from the wires
level adjusted on the Advanced page (see below). Available values
Noise Adjusts the level and duration of the wires sound applied to the
drum, measured as a percentage. Available values range from 0.0 to
100.0 % (default: 40.0 %).
Advanced Page
Modulation Page
ity.

The Snares
Element Description
SCALE Section
9.3.5 Snare – Airy

The Airy snare is an acoustic snare drum model that provides a realistic metallic snare sound.
The two modes available on its Advanced page relate to different tension levels of the snare
wires, which allows for a wide range of snares that will cut through very well into a mix.
Main Page
Element Description
MAIN Section

The Snares
Element Description
50.0 %).
Available values range from 0.0 % (softest) to 100 % (hardest). The
default value is 75.0 %.
Advanced Page
The Advanced page contains parameters controlling the wires’ sound of the drum.
Element Description
SPECTRA Section
Mode Selects from two different noise types that simulate the wires of the
drum. Available modes are A (default) and B.
Tune Provides an independent tuning of the snare noise. It relates to the
tension of the snare wires on a real snare drum. Available values
Decay Adjusts the length of the sound of the snare wires, independently
from the main Decay parameter on the Main page. Available values
range from 0.0 % to 100.0 % (default: 40.0 %).
Amount Adjusts the amount of snare wire sound applied to the drum,
100.0 % (default: 75.0 %).
Modulation Page
ity.

The Snares
Element Description
SCALE Section
9.3.6 Snare – Vintage

The Vintage snare is an acoustic snare drum emulation that provides the sound of old, woody
snares. The character of the sound comes from its broad spectrum that allows for a wide range
of snares via a subtle use of the Tune parameters.
Main Page
Element Description
MAIN Section

The Snares
Element Description
50.0 %).
Advanced Page
Element Description
SPECTRA Section
wires tension of a real snare drum. Available values range from 0.0
to 100.0 % (default: 50.0 %).
Decay Controls the length of the snare wire sound independently from the
main Decay parameter on the Main page. Available values range
from 0.0 to 100.0 % (default: 40.0 %).
100.0 % (default: 75.0 %).
Modulation Page
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The Snares
Element Description
SCALE Section
9.3.7 Snare – Chrome

The Chrome snare is an acoustic snare drum emulation with a bright sound. The two modes
available on its Advanced page relate to different snare wire characteristics: noisy and crispy.
Main Page
Element Description
MAIN Section

The Snares
Element Description
50.0 %).
Advanced Page
Element Description
SPECTRA Section
Mode Selects from two different noise types that simulate the snare wires
of the drum. Available modes are A (default) and B.
snare wire tension of a real snare drum. Available values range from
0.0 to 100.0 % (default: 50.0 %).
Decay Controls the length of the snare wire sound independently from the
main Decay parameter on the Main page. Available values range
from 0.0 to 100.0 % (default: 40.0 %).
100.0 % (default: 75.0 %).
Modulation Page
ity.

The Snares
Element Description
SCALE Section
9.3.8 Snare – Iron

The Iron snare is an acoustic snare drum model that is capable of a metallic, bright sound.
The two modes available on its Advanced page select from two different snare wire characteris-
tics.
Main Page
Element Description
MAIN Section

The Snares
Element Description
50.0 %).
Body Adjusts the level of the snare body independently from level of the
snare wires, which is adjusted on the Advanced page (see below).
Advanced Page
Element Description
SPECTRA Section
Mode Selects from two different noise types that simulate the snare wires
of the drum. Available modes are A (default) and B.
Decay Controls the length of the snare wires’ sound independently from
the main Decay parameter on the Main page. Available values range
from 0.0 to 100.0 % (default: 40.0 %).
100.0 % (default: 75.0 %).
Modulation Page
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The Snares
Element Description
SCALE Section
9.3.9 Snare – Clap

A stalwart of electronic music, the classic analog clap never really sounded like a group of peo-
ple clapping - but that makes it all the more iconic!
Main Page
Element Description
MAIN Section

The Snares
Element Description
Decay Adjusts the duration of the sound’s tail, but also the “spread”
between the individual claps, measured as a percentage. Available
Room Adjusts the balance between the dry sound — the claps themselves
— and the synthesized room sound, measured as a percentage.
high values, extra “air” is added.
Focus Adjusts the sharpness of each clap, measured as a percentage.
0.0 % the sound is very smooth; at 100.0 % the claps are very
sharp and staccato.
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section

The Snares
9.3.10 Snare – Breaker

The Breaker snare is an acoustic high pitched snare drum that cuts through perfectly into mix-
es containing heavy bass. The adjustment of the wires spectrum provides a great range of
snares. It also works very well with the Rasper Kick.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Snare plug-in. For more information
on the available engines, please refer to section ↑9.3, The Snares.
MIDI note numbers and cents. Available values range from 61.00
(NOTE C#3) to 85.00 (NOTE C#5). The default value is 73.00
(NOTE C#4).
50.0%).
75.0%).
Advanced Page

The Snares
Element Description
SPECTRA Section
tension of the snare wires on a real snare drum. Available values
range from 0.0 to 100.0% (default: 50.0%).
Decay Adjusts the length of the sound of the snare wires, independently
from the main Decay parameter on the Main page. Available values
range from 0.0% to 100.0% (default: 40.0%).
100.0% (default: 75.0%).
Modulation Page
locity.
Element Description
SCALE Section
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The Hi-hats
9.4 The Hi-hats

The Hi-hat Drumsynth can generate a variety of hi-hat sounds.
The Hi-hat in the Control area (Main page depicted).
The Hi-hat panel in the Plug-in Strip.

The Hi-hats
tions.
The Hi-hat provides following engines:
▪ Silver (default): ↑9.4.1, Hi-hat – Silver.
▪ Circuit: ↑9.4.2, Hi-hat – Circuit.
▪ Memory: ↑9.4.3, Hi-hat – Memory.
In addition, we mention how to use Choke groups with Hi-hat Plug-ins to emulate a closed vs.
open hi-hat set up: ↑9.4.5, Creating a Pattern with Closed and Open Hi-hats.
dling.
9.4.1 Hi-hat – Silver

The Silver engine is the default engine of the Hi-hat.
A classic analog hi-hat that can also be used as percussion or sound effect.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Hi-hat Plug-in. If you change this
setting, please refer to ↑9.4, The Hi-hats.

The Hi-hats
Element Description
Tune Adjusts the pitch of the cymbal played by the middle C, measured
as a percentage. Available values range from 0.0 % to 100.0 %
Decay Adjusts the duration of the sound, measured as a percentage. A
short decay produces a closed hat; a long decay gives an open hi-
hat or cymbal. Available values range from 0.0 to 100.0 % (default:
65.0 %).
Gate When enabled, the decay of the cymbal is choked by the end of the
note. When disabled (default), the cymbal plays as a one-shot
released, although the sound duration will still depend on the Decay
parameter (see above).
TONE Section
Color Adjusts the center frequency of the filter applied to the sound,
measured in hertz. Available values range from 932.3 Hz to
16.7 kHz (default: 7.4 kHz). The default position gives a standard
metallic analog hi-hat. Colored down, the sound is much more
melodic and in the midrange, good for percussion or effects. In a
way this parameter is a more effective tuning control than the Tune
parameter itself. Note that the Color parameter also follows
keyboard tracking (i.e. the key/pad you play) along with the Tune
parameter, limited to the range of the parameter.
Saturate Adjusts the amount of analog-style saturation applied to the sound
for increased thickness, measured as a percentage. Available values
Noise Adusts the mix between an oscillator bank and white noise as the
signal source, measured as a percentage. Available values range
from 0.0 % (oscillator bank only) to 100.0 % (white noise only).

The Hi-hats
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.4.2 Hi-hat – Circuit

Similar to the Silver hi-hat, the Circuit hi-hat uses a more complex oscillator for a more digital,
robotic sound.

The Hi-hats
Main Page
Element Description
MAIN Section
Decay Adjusts the duration of the sound, measured as a percentage. A
hat or cymbal. Available values range from 0.0 to 100.0 % (default:
65.0 %).
TONE Section
Color Adjusts the center frequency of the filter applied to the sound,
measured in hertz. Available values range from 932.3 Hz to
16.7 kHz (default: 7.4 kHz). The default position gives a standard
metallic analog hi-hat. Colored down, the sound is much more
melodic and in the midrange, good for percussion or effects. In a
way this parameter is a more effective tuning control than the Tune
parameter itself. Note that the Color parameter also follows
keyboard tracking (i.e. the key/pad you play) along with the Tune
parameter, limited to the range of the parameter.
Saturate Adjusts the amount of analog-style saturation applied to the sound
for increased thickness, measured as a percentage. Available values

The Hi-hats
Element Description
Seed Selects a random sequence to control the waveform produced by
the oscillator. Each of the 31 seed values available produces a
different set of random pitches and harmonics.
Dissonance Affects the randomization of the oscillator, measured as a
25.0 %). Higher values introduce more randomization, resulting in
a more noisy sound. Lower values produce a more melodic,
oscillator-like sound.
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.4.3 Hi-hat – Memory

The Memory hi-hat is similar to a typical sample-based cymbal but with a modern twist, using
analyzed and reconstructed timbres rather than just a recorded sample.

The Hi-hats
Main Page
Element Description
MAIN Section
Decay Adjusts the duration of the sound, measured as a percentage.
Available values range from 0.0 to 100.0 % (default: 65.0 %). A
hat or cymbal.
Source Selects the sampled timbre to be used as source. Six modes are
available — A (default), B, C, D, E, and F — each corresponding to
a different cymbal.
TONE Section
Color Adjusts the frequency curve of the sound, measured as a
71.5 %). Higher settings produce a brighter sound; lower settings
produce a more boxy sound.

The Hi-hats
Element Description
Strike Adjusts the attack of the cymbal, measured as a percentage.
Distress Introduces even more lo-fi grit, crushing and distortion. Available
values range from 0.0 % (default) to 100.0 %.
Advanced Page
Modulation Page
ity.
Element Description
SCALE Section
9.4.4 Hi-hat – Hybrid

The Hybrid hi-hat is an acoustic emulation with a distinctive sound, crossing over from acous-
tic to electronic timbres. It provides authentic acoustic features such as sizzling available
through the Rattle parameter, and special electronic characteristics provided by the Metallic
parameter. By automating these parameters you can create great sounding hi-hat figures.

The Hi-hats
more information please refer to section ↑13.4, The Plug-in Strip.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Hybrid plug-in. For more information
on the available engines, please refer to section ↑9.4, The Hi-hats.
as a percentage. Available values range from 0.0% to 100.0%
(default: 50.0%).
TONE Section
Color Adjusts the cutoff frequency of several low-pass filters in order to
achieve the desired timbre. Available values range from 0.0 to
100% (default: 71.5%).
Metallic Adjusts an enharmonic metallic character, measured as a
0.0%).
Strike Adjusts the amount of click or initial attack, measured as a
80.0%).
Character Adjusts a wider range of timbers from noisy to metallic, measured
as a percentage. Available values range from 0.0 to 100.0%
(default: 25.0%).

The Hi-hats
Advanced Page
Element Description
HYBRID Section
Bend Adjusts the amount of a pitch envelope for sound design purposes.
It is a bipolar control ranging from -100.0 to 100.0% (default:
0.0%)
Rattle Adjusts the amount of sizzling from the hi-hat. It is more noticeable
with long decays. Available values range from 0.0 to 100.0%
(default: 50.0%).
Modulation Page
locity.
Element Description
SCALE Section
be.
9.4.5 Creating a Pattern with Closed and Open Hi-hats

Don’t hesitate to use a few Hi-hat Plug-ins within a Choke group! Indeed, by loading two Hi-hat
Plug-ins with different settings in two different Sounds (one for the closed hi-hat, one for the
open hi-hat), then assigning both Sounds to the same Choke group, and leaving both as Master
in the group, you can recreate mutually exclusive hi-hat sounds that cancel each other out

The Toms
when played, like on a real drum set. By the way you are not limited to two hi-hat sounds —
e.g., you could add to the same Choke group a third Sound containing a half-opened hi-hat. To
know how to do this, please refer to section ↑6.1.4, Using Choke Groups where Choke groups
are explained in detail.
With a single Hi-hat Plug-in, you could also recreate an open-closed hi-hat behavior by disabling
Gate and modulating the Decay in your Pattern. This rather advanced task might give you even finer
control over the duration of your various hi-hat sounds, and thereby help you to give your hi-hat
track a “human” feel. Furthermore, since this method makes use of a single Sound you can quickly
modify other parameters of your Hi-hat Plug-in — your changes will seamlessly apply to all your hi-
hat variants!
9.5 The Toms

The Tom Drumsynth can generate a variety of tom sounds.
The Tom in the Control area (Main page depicted).

The Toms
The Tom panel in the Plug-in Strip.
tions.
The Tom provides following engines:
▪ Tronic (default): ↑9.5.1, Tom – Tronic.
▪ Fractal: ↑9.5.2, Tom – Fractal.
▪ Floor: ↑9.5.3, Tom – Floor.

The Toms
dling.
9.5.1 Tom – Tronic

The Tronic engine is the default engine of the Tom.
A fat, analog-style tom with two tunable oscillators plus a tunable FM oscillator.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Tom Plug-in. If you change this
setting, please refer to ↑9.5, The Toms.

The Toms
Element Description
At zero the sound stays at its original pitch during its entire
decaying phase. At higher values, the pitch bends upwards. At lower
values, the pitch bends downwards.
Impact Adjusts the amount of attack, measured as a percentage. Available
values range from 0.0 % (soft attack) to 100.0 % (maximum
attack). The default value is 80.0 %.
Advanced Page
The Advanced page contains parameters controlling the individual oscillators.
Element Description
HARMONICS Section
Interval Adjusts the interval between the two oscillators, measured in
semitones and cents. Available values range from -0.50 to 13.50
(default: 6.50). At low values the oscillators are tuned close
together, giving a detuned sound which can be used for basslines.
FM Freq Adjusts the frequency of the FM oscillator, measured as a
50.0 %).
FM Decay Adjusts the decay of the FM oscillator, measured as a percentage.
Short decays are useful to supplement the attack or impact of the
tom. Long decays can be used to embellish the tone or timbre of
the tom, especially when applied subtly (see FM Amount below).
FM Amount Adjusts the amount of frequency modulation applied by the FM
oscillator, measured as a percentage. Available values range from
0.0 to 100.0 % (default: 10.0 %). At 0.0 % there is no frequency
modulation so the other FM controls (FM Freq and FM Decay) have
no effect.

The Toms
Modulation Page
ity.
Element Description
SCALE Section
9.5.2 Tom – Fractal

The Fractal tom is a modern electronic tom with a broad sonic range from pure and analog-
sounding through organic and percussive through bell-like to totally alien. It uses a tone oscil-
lator and a feedback oscillator bank (like the one used in the Fractal engine of the Percussion,
see ↑9.6.1, Percussion – Fractal), the balance between which is controlled by the Mix parame-
ter on the Advanced page. The tone oscillator on its own produces a simple analog-style bleepy
tom. The addition of the feedback oscillator bank facilitates a much wider range of sounds.

The Toms
Main Page
Element Description
MAIN Section
72.00. The default value is 48.00. For more details see↑9.1.5,
Pitch Range, Tuning, and MIDI Notes. Note that the pitch of this
instrument is heavily dependent on the settings on the Advanced
page (see below).
At zero the sound stays at its original pitch during its entire
decaying phase. At higher values, the pitch bends upwards. At lower
values, the pitch bends downwards.

The Toms
Element Description
Color Adjusts a simple filter which affects the brightness of the sound.
Glide The tuning of the Fractal tom is locked for each note; in other words
the change in tuning is applied only when a new note is received.
When the Glide parameter is set higher than zero, the pitch glides
smoothly to the new tuning. The Glide parameter then defines the
duration this glide takes, measured in milliseconds: as you increase
the Glide value, the glide gets slower and more audible. This also
applies when the tom is played across the keyboard. Available
values range from None (no glide) to 350.0 ms (slowest glide). The
default value is 5.5 ms.
Advanced Page
Element Description
HARMONICS Section
KTr. Mode (Key Selects from two key tracking modes: Harmonic (default) and
Tracking Mode) Dissonant.
In Harmonic mode all oscillators track the Tune parameter (on the
Main page, see above) and your keyboard evenly. Therefore, the
drum stays in tune with itself as the Tune parameter is adjusted,
and can be played chromatically across the keyboard.
In Dissonant mode the oscillators track the Tune parameter of your
keyboard/pads unevenly. Therefore, the drum produces dissonant,
detuned harmonics when the Tune parameter is adjusted or when
you play different notes.
Mix Adjusts the mix between the tone oscillator and the feedback
oscillator bank, measured as a percentage. Available values range
from 0.0 % (tone oscillator only) to 100.0 % (feedback oscillator
bank only). The default value is 5.0 %.

The Toms
Element Description
Transpose Adjusts the pitch transposition of the feedback oscillator bank only,
measured in semitones and cents. This is useful for tuning it to the
tone oscillator. Available values range from -12.00 to 12.00
semitones (default: 0.00).
Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank,
100.0 % (default).
Freq B Adjusts the pitch of oscillator B within the feedback oscillator bank,
100.0 % (default: 75.0 %). Note that this control has no effect
when FM and AM are set to zero (see below).
FM Adjusts the amount of frequency modulation within the feedback
oscillator bank, measured as a percentage. Frequency modulation
tends to add bell-like, ringing overtones. Available values range
from 0.0 to 100.0 % (default: 50.0 %).
AM Adjusts the amount of amplitude modulation within the feedback
oscillator bank, measured as a percentage. Amplitude modulation
tends to add brash, bright overtones. Available values range from
0.0 to 100.0 % (default: 50.0 %).
Modulation Page
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The Toms
Element Description
SCALE Section
9.5.3 Tom – Floor

The Floor Tom is an acoustic tom that provides the emulation of a complete set of toms. Al-
though it is more suitable for floor and low toms, it is also capable of producing interesting
mid and high toms. Furthermore the control over the pitch bend and the mute parameters al-
low for a wide range of sounds.
Main Page
Element Description
MAIN Section

The Toms
Element Description
Tension Adjusts the tension of the drum skin, measured as a percentage,
allowing for a longer and bigger pitch bend. Available values range
from 0.0 to 100.0 % (default).
Flex Adjusts the elasticity of the skin, measured as a percentage,
allowing for a greater pitch bend when the drum is hit. Available
MUTE Section
Skin Adjusts the amount of damping applied to the drum skin, measured
as a percentage. Available values range from 0.0 % (default) to
100.0 %.
Air Adjusts the amount of damping applied to the air, measured as a
50.0 %).
Advanced Page
Modulation Page
ity.

The Toms
Element Description
SCALE Section
keys (or pads). From the mid position, by turning the knob to the
9.5.4 Tom – High

The High Tom is an acoustic tom that complements the Floor Tom. With very few parameters it
provides a wide range of tom rolls and fills.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Tom plug-in. For more information
on the available engines, please refer to section ↑9.5, The Toms.
MIDI note numbers and cents. Available values range from 57.00
(NOTE A2) to 71.00 (NOTE B3). The default value is 57.00.

The Percussions
Element Description
Tension Adjusts the tension of the drum skin, measured as a percentage,
allowing for a longer and bigger pitch bend. Available values range
from 0.0 to 100.0% (default).
80.0%).
Advanced Page
Modulation Page
locity.
Element Description
SCALE Section
from -100.0% to 100.0% (default value). At zero (mid-course), the
be.
9.6 The Percussions

The Percussion Drumsynth can generate a variety of percussion sounds.

The Percussions
The Percussion in the Control area (Main page depicted).
The Percussion panel in the Plug-in Strip.
tions.
The Percussion provides following engines:

The Percussions
▪ Fractal (default): ↑9.6.1, Percussion – Fractal.

▪ Kettle: ↑9.6.2, Percussion – Kettle.
▪ Shaker: ↑9.6.3, Percussion – Shaker.
dling.
9.6.1 Percussion – Fractal

The Fractal engine is the default engine of the Percussion.
The Fractal percussion mode is based on the feedback oscillator bank from the Fractal tom
(see ↑9.5.2, Tom – Fractal). It’s capable of a broad range of sounds, from bell-like to metallic,
cymbal-like, subby, melodic, weird and twisted, and is intended to be played across the key-
board.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Percussion Plug-in. If you change
this setting, please refer to ↑9.6, The Percussions.
Pitch Range, Tuning, and MIDI Notes. Note that the pitch of this
instrument is heavily dependent on the settings on the Advanced
page (see below).

The Percussions
Element Description
Tune Hold When Tune Hold is enabled, the tuning behavior is that of the
Fractal tom: the tuning is fixed until the next note is received (see
↑9.5.1, Tom – Tronic). This allows you to create arpeggiated
patterns by adjusting the Tune parameter while a sequence of notes
is playing.
When Tune Hold is disabled (default), the tuning behavior is that of
the other modules: the tuning responds immediately when you
adjust the Tune parameter.
Glide Adjusts the glide between the pitch of new notes, measured in
milliseconds. When the Glide parameter is set higher than zero, the
pitch glides smoothly to the new tuning. The Glide parameter then
defines the duration this glide takes. Available values range from
None (no glide, default) to 762.8 ms.
Advanced Page

The Percussions
Element Description
HARMONICS Section
KTr. Mode (Key Selects from two key tracking modes: Harmonic (default) and
Tracking Mode) Dissonant.
In Harmonic mode all oscillators track the Tune parameter (on the
Main page, see above) and your keyboard evenly. Therefore, the
drum stays in tune with itself as the Tune parameter is adjusted,
and can be played chromatically across a keyboard or the pads.
In Dissonant mode the oscillators track the Tune parameter you’re
your keyboard) unevenly. Therefore, the drum produces dissonant,
detuned harmonics when the Tune parameter is adjusted or when
you play different notes on a keyboard or the pads.
Freq A Adjusts the pitch of oscillator A within the feedback oscillator bank,
100.0 % (default: 50.0 %).
Freq B Adjusts the pitch of oscillator B within the feedback oscillator bank,
100.0 % (default: 50.0 %). Note that this parameter has no effect
Freq C Adjusts the pitch of oscillator C within the feedback oscillator bank,
100.0 % (default: 29.1 %). Note that this parameter has no effect
FM Adjusts the amount of frequency modulation within the feedback
oscillator bank, measured as a percentage. Frequency modulation
tends to add bell-like, ringing overtones. Available values range
from 0.0 to 100.0 % (default: 34.4 %).
AM Adjusts the amount of amplitude modulation within the feedback
oscillator bank, measured as a percentage. Amplitude modulation
tends to add brash, bright overtones. Available values range from
0.0 to 100.0 % (default: 18.6 %).

The Percussions
Modulation Page
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Element Description
SCALE Section
9.6.2 Percussion – Kettle

The Kettle percussion is an acoustic timpani emulation that provides an orchestral and rich
sound.
Main Page
Element Description
MAIN Section

The Percussions
Element Description
Puff Adjusts the amount of feedback noise applied to the drum,
100.0 % (default: 25.0 %).
Damp Adjusts the damping amount, measured as a percentage. Available
values range from 0.0 % (default) to 100.0 %.
Impact Adjusts the amount of attack. Available values range from 0.0 %
(soft attack) to 100.0 % (maximum attack). The default value is
60.0 %.
Advanced Page
Modulation Page
ity.

The Percussions
Element Description
SCALE Section
9.6.3 Percussion – Shaker

The Shaker is a versatile electronic shaker/maraca engine.
Main Page
Element Description
MAIN Section
Tune Adjusts the center frequency of the filter applied to the noise
source, which will define the pitch of the drum played by the
middle C, measured as a percentage. Available values range from
0.0 % to 100.0 % (default: 50.0 %). For more details see ↑9.1.5,

The Percussions
Element Description
Filter Adjusts the bandwidth of the filter applied to the noise source,
measured as a percentage. Higher settings result in a wider filter.
Lower settings result in a narrower filter, measured as a percentage.
Grain Adjusts the timbre of the noise source, measured as a percentage.
Higher settings emulate the grainy sound of a real shaker. Available
values range from 0.0 to 100.0 % (default: 50.0 %). Furthermore
the Grain parameter is assigned to velocity: lower velocity shakes
contain more grain.
ENVELOPE Section
Mode Selects from two envelope modes: Realistic (default) and Machine.
In Realistic mode the envelope uses curved attack and release
stages for a more natural sound.
In Machine mode the envelope uses linear attack, hold, and release
stages for a static, machine-like sound.
In Performer mode, instead of producing a one-shot sound like most
drums, the shaker plays a rhythmic pattern like a real shaker. In
this mode, simply hold the note for as long as you want the pattern
to play.
Attack Adjusts the duration of the envelope’s attack stage, measured as a
40.0 %).
Hold (Machine mode Adjusts the duration of the envelope’s hold stage, i.e. the time
only) during which the envelope is held at its highest point, measured as
a percentage. Available values range from 0.0 % (default) to
100.0 %.

The Percussions
Element Description
Accent (Performer Controls the amount of emphasis on certain notes within the shaker
mode only) pattern, measured as a percentage. At low values, the groove is
static and the notes rather quiet, as if the shaker were being shaken
very gently and uniformly. As the parameter is increased, key notes
in the pattern are emphasized, creating a classic shaker groove.
High values simulate a shaker that is being shaken by someone who
is having a lot of fun! Available values range from 0.0 to 100.0%
(default: 70.0%).
Fill (Performer mode The Fill parameter is designed to be set to None by default and
only) played manually during performance or automated in the
sequencer. By default, the shaker plays a pattern according to the
Rate parameter on the Advanced page (see below).
When the Fill parameter is set to Double, the speed of the pattern is
doubled. When set to Triple, the shaker plays rapid triplets. Use
this to insert improvised fills into your shaker parts to add variety
and interest.
Release Adjusts the duration of the envelope’s release stage, measured as a
35.0 %).
Advanced Page
The Advanced page contains parameters only when the Shaker engine is in Performer mode
(see Mode parameter above). These parameters further adjust the envelope.
ENVELOPE Section

The Percussions
Element Description
Sync The Sync parameter has two options: Lock and Retrig.
In Lock mode, the shaker pattern is synced to the song position;
that is, it is always in time regardless of when a note is pressed.
In Retrig mode, the shaker pattern (including accents) is retriggered
on every note on, without quantizing to the nearest beat.
In both cases, the tempo of the pattern remains correct for the
song.
Rate Sets the note division of the shaker pattern. For example, 1/16
(default value) will result in a shaker pattern that plays 16th notes,
and so on.
Length Adjusts the length of the pattern that is accented by the Accent
parameter on the Main page (see above). By default, Length is set
to 4, so the pattern will appear to repeat every 4 “shakes” (the note
length of which can be set with the Rate parameter above).
Syncopated patterns can be created by selecting a value other than
4 or 8 (or 3 or 6 if the Rate parameter is set to a triplet note
division).
Offset Adjusts the timing offset of the shaker pattern. Fine adjustment will
shift the pattern slightly, by less than one note division, affecting
the feel of the shaker pattern in relation to the beat. Coarse
adjustment will shift the pattern by entire note divisions, allowing
you to rapidly introduce syncopated variations to the shaker pattern
during performance or using automation. Available values range
from -4.00 to 4.00 (default: 0.00).
On your controller, coarse adjustment (changing the value in steps
of 1.0) occurs by default when the knob is moved. Fine-tuning can
be achieved by holding the SHIFT button while turning the knob.

The Cymbals
Element Description
Swing Adjusts the amount of swing or shuffle in the shaker pattern. Higher
values will result in a pattern with more swing. Note that Swing
alone will result in quite a mechanical feel — for a more human
feel it is recommended to add some Twist as well (see below).
Twist The Twist parameter “skews” the groove of the shaker pattern. On
its own, with the Swing parameter set to zero, it can sound very
strange and lopsided. However, used sparingly in conjunction with
Swing, the Twist parameter gives the pattern a flowing, natural
groove, just like a real person playing a shaker. Available values
Modulation Page
ity.
Element Description
SCALE Section
9.7 The Cymbals

The Cymbal Drumsynth can generate a variety of cymbal sounds.

The Cymbals
The Crash engine selected for the Cymbal in the Control area (Main page depicted).
The Crash engine selected on the Cymbal panel in the Plug-in Strip.
tions.

The Cymbals
The Cymbal provides following engines:

▪ Crash (default): ↑9.7.1, Cymbal – Crash.
▪ Ride: ↑9.7.2, Cymbal – Ride.
general information on the Cymbals and the other Drumsynths, see ↑9.1, Drumsynths – General
Handling.
9.7.1 Cymbal – Crash

The Crash engine creates a wide range of cymbals: from a typical 909-like crash to more
acoustic sounding timbres. Its parameters provide a great range of expression and spectral var-
iation.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Cymbal plug-in. Available engines
include Crash and Ride.
100.0% (default value is 30.0%).
70.0%).

The Cymbals
Element Description
Width Adjusts the perceived stereo image, measured as a percentage. At
zero the sound is mono, at 100.0% the sound is a wide stereo
image, replicating the effect of recording with overhead stereo
microphones. Available values range from 0.0 to 100.0% (default:
50.0%).
COLOR Section
Density Adjusts the more complexity to the sound, measured as a
100.0%)
Tone Adjusts the balance of the spectral content, measured as a
50.0%).
Mode Selects from three different modes Metallic, Normal, or Soft
(default: Metallic).
Advanced Page
Modulation Page
locity.

The Cymbals
Element Description
SCALE Section
be.
9.7.2 Cymbal – Ride

The Ride engine is an acoustic emulation that allows the cymbal to be hit in many different
ways through the use of the Edge and Bell parameters. The sonic palette ranges from soft Jazz-
like rides to more noisy cymbals.
Main Page
Element Description
MAIN Section
Engine Selects the engine used in the Cymbal plug-in. Available engines
include Crash and Ride.
1.00. The default value is 0.30.

The Cymbals
Element Description
70.0%).
Width Adjusts the perceived stereo image, measured as a percentage. At
zero the sound is mono, at 100.0% the sound is a wide stereo
image, replicating the effect of recording with overhead stereo
microphones. Available values range from 0.0 to 100.0% (default:
50.0%).
STRIKE Section
Edge Adjusts the point where the cymbal is hit, measured as a
percentage. Hitting the edge of the cymbal (100%) creates a more
chaotic sound, hitting it near the center (0.0%) creates a more
high-pitched sound. Available values range from 0.0 to 100.0%
(default: 50.0%)
Bell Adjusts the high-frequencies on a narrow band, measured as a
percentage. (default: 0.0%)
Advanced Page
Element Description
HYBRID Section
Character Adjusts a wider range of timbers between more noisy to more
metallic ones, measured as a percentage. Available values range
from 0.0 to 100.0% (default: 20.0%).
Tail Adjusts the length of the sound tail through an envelope. Available
values range from 0.0 to 100.0% (default: 100.0%).
Modulation Page
locity.

The Cymbals
Element Description
SCALE Section
be.

Using the Bass Synth
10 Using the Bass Synth
Bass Synth is an internal fun and easy to use monophonic synthesizer module that allows you
to quickly create expressive basslines. Like any other Instrument Plug-in, load it into the first
Plug-in slot of a Sound to gain full control over its parameters in the Control Panel or direct
from your hardware controller. Create rich bass tones and program acid lines with ease.
You can enhance the sound of the Bass Synth further by adding internal effects, tweaking pa-
rameters during a live performance, or by automating them like any other plug-in.
Bass Synth key features:
▪ One Oscillator (monophonic)
▪ Seamlessly morph between sine to saw to square wave – and all spots in between
▪ Octave switch
▪ Filter, Mod envelope, Decay, Drive (bi-polar saturation/distortion), and Glide Time
▪ Integrated with MASCHINE JAM: Program bass and acid lines via notes and glides on MA-
SCHINE JAM direct from the 8x8 click-pad matrix. For more information on sequencing
Bass Synth with MASCHINE JAM, please read the MASCHINE JAM Manual available from
the Help menu and Native Instruments website.
See section ↑11.5, Recording and Editing Modulation for more information on automation.
In this chapter you will find:

▪ An overview of the Bass Synth: ↑10.1, Bass Synth – General Handling.
▪ A description of the Bass Synth parameters: ↑10.1.2, Bass Synth Parameters.
The specific handling and parameters of the Drumsynths are described in this chapter. For a gener-
al description of the features and characteristics of Plug-ins (including the Bass Synth), please refer
to section ↑7.1, Plug-in Overview.

Bass Synth – General Handling
10.1 Bass Synth – General Handling

This section describes the general use and features of the Bass Synth.
Managing the Bass Synth

Bass Synth is a MASCHINE Plug-in and, as such, supports all usual Plug-in actions and proce-
dures. Hence, to know how to load, remove, replace, insert, move, copy/paste a Bass Synth, as
well as how to adjust the Bass Synth parameters, and load/save presets, please refer to section
↑7.1, Plug-in Overview, where these are described in detail.
Bass Synth presets can be loaded from the Browser by selecting: SOUNDS, MASCHINE, BASS
SYNTH.
10.1.1 Parameter Organization

The Bass Synth has the same parameters in both the Control area of the Arrange view and in
the Plug-in Strip of the Mix view.
Parameter Pages in the Control Area (Arrange View)

In Arrange view (Ideas view and Song view), the parameters of the Bass Synth are grouped in
the Control area:
Bass Synth parameter organization in the Control area.
▪ The parameters are grouped into two Parameter pages:

◦ The Main page groups the most important parameters. Here you can adjust the Shape
of the oscillator waveform, the filter Cutoff and Resonance, the envelope modulation
(Mod. Amt.) and envelope Decay amounts, the Drive amount and the Glide Time.
◦ The Advanced page provides access to the Glide on/off parameter.
Common Layout in the Plug-in Strip (Mix View)

In Mix view, the Plug-in panel of the Bass Synth in the Plug-in Strip provides easy access to
parameters and visualization of the oscillator waveform:
The Bass Synth layout in the Plug-in Strip.
▪ In the top row of the panel are the envelope Mod. Amt. (modulation amount) and Decay
parameters, followed by the main Shape (oscillator waveform), the Octave range, and the
Drive parameters.
▪ In the bottom row of the panel you find the filter Cutoff, Resonance and Glide Time param-
eters.
For more information on the various Plug-in panels found in the Plug-in Strip, please refer to sec-
tion ↑13.4, The Plug-in Strip.

10.1.2 Bass Synth Parameters

Available from the both the Control area of the Arrange view and in the Plug-in Strip of the Mix
view, the parameters are as follows:
The parameters described are presented as they appear in the Control area (Arrange view). The
same parameters are available in the Plug-in panel within the Plug-in Strip (Mix view). See ↑13.4,
The Plug-in Strip for more information on this.
Main Page
Element Description
OSC Section
Shape Adjusts the waveform shape continuously from sine to square. To
adjust the waveform shape, turn the Shape knob by clicking and
dragging upwards or downwards. The waveform shape can be
viewed in the Plug-in Strip of the Mix view.
Octave Transposes the base key of the Bass Synth (range: -3 – 3). To
transpose the base key, turn the Octave knob by clicking and
dragging upwards or downwards.
Filter Section
Cutoff Adjusts the frequency of the low-pass filter (range: 14.6 Hz – 23.7
KHz). To adjust the cutoff frequency, turn the Cutoff knob by
clicking and dragging upwards or downwards.
Resonance Adjusts the amount of boost around the cutoff frequency (range:
0.0% – 120%), Resonance can start to self-oscillate when
increasing the amount over 100.0 %. To adjust the amount of
resonance, turn the Resonance knob by clicking and dragging
upwards or downwards.
Envelope Section

Element Description
Mod. Amt. Adjusts the amount of envelope applied to the filter cutoff (range:
0.0% – 100%). To increase the amount of modulation applied to
the Cutoff, turn the Mod. Amt. knob clockwise by clicking and
dragging upwards.
Decay Adjusts the rate at which the sound fades to silence (range: 0.0% –
100%). To increase the decay amount, turn the Decay knob
clockwise by clicking and dragging upwards.
Tone Section
Drive Adjusts the amount of drive (range: -100% – 100%); -100%
increases the input level for the filter, driving the signal internally
into saturation, and 100% controls the drive level of the distortion
at the end of the signal chain. To adjust the amount of drive, turn
the Drive knob by clicking and dragging upwards or downwards.
Note Section
Glide Time Adjusts the time it takes to glide from one pitch to the next (range:
10 ms – 1000 ms). To adjust the amount of glide time, turn the
Glide Time knob by clicking and dragging upwards or downwards.
Advanced Page
For this module the Advanced page contains just one parameter.
Element Description
Note Section
Glide Globally enables the glide parameter. Once set to on, the note will
continuously play in a monophonic manner.

Working with Patterns
Pattern Basics
11 Working with Patterns
Creating a Pattern is where the fun starts, because the sequencer really is the core of MA-
SCHINE. Both your controller and the software provide you with many powerful tools to create
and edit your own beats.
This chapter is organized as follows:
▪ General points on Patterns and the Pattern Editor: ↑11.1, Pattern Basics.
▪ How to record Patterns in real time from your controller: ↑11.2, Recording Patterns in Real
Time.
▪ How to record Patterns with the step sequencer of your controller: ↑11.3, Recording Pat-
terns with the Step Sequencer.
▪ How to create and modify events/notes in your Patterns: ↑11.4, Editing Events.
▪ How to create and modify modulation in your Patterns: ↑11.5, Recording and Editing Mod-
ulation.
▪ How to create MIDI tracks in your Patterns: ↑11.6, Creating MIDI Tracks from Scratch in
MASCHINE.
▪ How to organize your Patterns in your Project: ↑11.7, Managing Patterns.
▪ How to import/export MIDI to/from Patterns, and how to export audio from Patterns: ↑11.8,
Importing/Exporting Audio and MIDI to/from Patterns.
11.1 Pattern Basics

A Pattern contains the events (also called “notes”) that make up a groove or a musical phrase
using the Sounds of the selected Group. It also contains the modulation data (if any) modifying
the value of parameters in that Group or any of its Sounds. The Pattern belongs to that Group
and is saved together with the Group. In each Group you can have an unlimited number of Pat-
terns. Patterns are grouped into Pattern banks containing up to 16 Patterns each.

Pattern Basics
11.1.1 Pattern Editor Overview

The Pattern Editor is the all-in-one Pattern editing tool of the MASCHINE software.
This overview of the Pattern Editor introduces you its main parts and control elements.
1 5 6 8 9 10
2
3
4 7
11
15 14 13 12
The Pattern Editor (Group view depicted).
(1) Group View button: Click this button to switch to Group view. See section ↑11.1.5, Group
View and Keyboard View.
(2) Keyboard View button: Click this button to switch to Keyboard view. See section ↑11.1.5,
Group View and Keyboard View.
(3) Sample Editor button: Click this button to switch between the Pattern Editor and the Sample
Editor. The Sample Editor is covered in chapter ↑17, Sampling and Sample Mapping.
(4) Sound List: Sound slots 1–16 of the selected Group are listed here. In Keyboard view (2),
click a Sound slot to display its events in the Event area (7).

Pattern Basics
(5) Pad View button: Click this button to switch between the Sound List (4) and the Pad view.
The Pad view is an alternate representation of your Sound slots that focuses on the pads of
your controller. In Pad view you can adjust how the Sounds should be triggered by your pads.
See section ↑6.1.1, The Pad View in the Software.
(6) Pattern Manager button: Opens/closes the Pattern Manager. The Pattern Manager gives you
access to various management commands for your Patterns. Notably, it allows you to select the
Pattern you want to edit in the Pattern Editor and use in the current Scene of the Arranger. It
also provides various Pattern management commands (see section ↑11.7.1, The Pattern Man-
ager and Pattern Mode).
(7) Event area: Displays the content of the selected Pattern. Here you can see your recorded
events as rectangular blocks. In Group view (1) these represent the Sounds of your Group. In
Keyboard view (2) they represent musical notes of the selected Sound. The length of each rec-
tangular block represents the duration of the event, and its transparency indicates the event
velocity (the softer the hit, the more transparent the event). You can edit events using your
mouse; you can drag them to a new position, elongate/shorten them, create and delete them
using various Edit modes (13). The Event area also displays the Step Grid divisions, a set of
regularly spaced vertical lines defining the resolution of your edits. You can make all your edits
snap to the desired Step Grid via the Step Grid settings (14).
(8) Pattern timeline: The timeline at the top of the Event area (7) displays musical time units,
including bars and beats. Click anywhere in the timeline to move the playhead to that position
(see section ↑11.1.4, Jumping to Another Playback Position in the Pattern). Drag the white
Pattern Length marker horizontally to adjust the Pattern Length (this can also be done via the
Pattern Length controls (9), see section ↑11.1.6, Adjusting the Arrange Grid and the Pattern
Length).
(9) Pattern Length controls: The Pattern Length controls allow you to choose the increment by
which the length of the Pattern can be adjusted, and to adjust the length of the displayed Pat-
tern according to that increment. See section ↑11.1.6, Adjusting the Arrange Grid and the Pat-
tern Length.
(10) MIDI and Audio Dragger: The MIDI Dragger and the Audio Dragger allow you to conveniently
drag and drop MIDI or audio from your Patterns to your desktop or host software, respectively.
See section ↑11.8.1, Exporting Audio from Patterns and ↑11.8.2, Exporting MIDI from Pat-
terns for more information.

Pattern Basics
(11) Control Lane: The Control Lane provides a visual overview and editing tools for the modula-
tion and the MIDI/host automation of each parameter. See section ↑11.5, Recording and Edit-
ing Modulation and ↑12.2, Using MIDI Control and Host Automation for more information.
(12) Horizontal zooming scroll bar: Click the main part of the scroll bar and drag your mouse
horizontally to scroll through the Event area on the horizontal axis (time), or drag it vertically to
zoom in/out on this time axis. You can also click the left or right handle of the scroll bar and
drag it horizontally to zoom in/out while keeping the opposite border of the display at a fixed
position in the Pattern. Double-click the main part of the bar to reset the zoom and display the
entire Pattern. In Keyboard view (2) you will find a vertical zooming scroll bar with similar func-
tionality at the right of the Pattern Editor. See section ↑11.1.2, Navigating the Event Area for
more information.
(13) Edit Mode selector: The Edit Mode selector lets you choose from three different modes
when editing the content of the Pattern: Select, Paint, and Erase mode. See ↑11.4.1, Editing
Events with the Mouse: an Overview for more information.
(14) Step Grid settings: Use the Step Grid button to enable/disable the Step Grid, and the Step
Size menu to change the Step Grid resolution. See section ↑11.1.7, Adjusting the Step Grid
and the Nudge Grid for more information.
(15) Control Lane button: Click the Control Lane button to show/hide the Control Lane (11).
11.1.1.1 Patterns on the Controller

Your controller provides numerous modes to work on your Patterns:
▪ The Pattern Arrange mode allows you to quickly visualize the content of your Patterns and
gives you access to various edit commands (see below).
▪ The Pattern mode allows you to select and manage your Patterns: ↑11.7, Managing Pat-
terns.
▪ The Control mode (default mode of your controller) allows you to record Patterns in real
time using various recording modes: ↑11.2, Recording Patterns in Real Time. It also allows
you to record modulation for your Pattern: ↑11.5, Recording and Editing Modulation.
▪ The Step mode allows you to record Patterns (including modulation) in the step sequencer:
↑11.3, Recording Patterns with the Step Sequencer.
▪ The Event Select mode allows you to select the desired events: ↑11.4.3, Selecting Events/
Notes.

Pattern Basics
▪ The Event Edit mode lets you edit the selected events: ↑11.4.4, Editing Selected Events/
Notes.
▪ The Grid mode lets you adjust the Step Grid: ↑11.1.7, Adjusting the Step Grid and the
Nudge Grid.
The Pattern Arrange Mode

The Pattern Arrange mode is a powerful tool that allows you to visually control the content of
your Patterns while providing important Pattern management features.
To enter Pattern Arrange mode on your controller:
1. Press ARRANGER to enter Arrange mode.
The ARRANGER button lights up to indicate that Arrange mode is enabled.
2. Press Button 2 (PATTERN) to enter Pattern Arrange mode.
→ Button 2 lights up and the PATTERN label underneath is highlighted to indicate that the
controller is in Pattern Arrange mode.

Pattern Basics
1 2 3 4 5 6 7 8
The Pattern Arrange mode in the controller displays: Keyboard view (top) and Group view (bottom).
In Pattern Arrange mode, the displays of your controller show the following:
▪ The left display provides an overview of the whole Pattern:
◦ The display follows the Group or Keyboard view of the Pattern Editor in the software
and the mode of your pads: if your pads are in Pad Mode the display shows all events
for all Sounds in the Group; if your pads are in Keyboard mode the display shows all
notes at all pitches for the focused Sound. See section ↑11.1.5, Group View and Key-
board View for more information.
◦ The velocity of each event/note is indicated by its transparency. Selected events/notes
are highlighted. You can also select individual events using the Page buttons (left of
the displays).
◦ The overview includes a timeline (1). A white vertical line indicates the current play-
back position (2). In addition, a frame (3) shows you which part of your arrangement
is currently shown in the right display (see below).

Pattern Basics
◦ Above the arrangement overview, you see the name of the Project, the focused Group
or the focused Sound (depending on which of the MASTER, GROUP or SOUND tab is
selected in the software’s Control area) along with the current tempo and playback po-
sition.
▪ The right display provides a detailed view of a portion of your Pattern:
◦ The name of the selected Pattern is indicated at the top of the display (6).
◦ The velocity of each event/note is indicated by its transparency. If visible, selected
events/notes are highlighted.
◦ With the pads in Pad Mode, the display shows events for all Sounds in the Group. The
16 Sound slots of the Group are represented in the leftmost column by their index
number (5). The focused Sound is highlighted.
◦ With the pads in Keyboard mode, the display shows notes on two octaves for the fo-
cused Sound. On the left a piano roll (4) indicates the pitch of the various events. On
the piano roll, each C is indicated by its octave number and the middle C (C3 in the
MASCHINE convention) is colored. Additionally the pitch of any played note is high-
lighted. Turn Knob 7 to scroll on the pitch axis (vertical axis) from events at the lowest
pitch until events at the highest pitch. If all events are within two octaves, they all ap-
pear in the display and Knob 7 is inactive.
◦ Horizontally, the displayed time interval is variable: Turn Knob 5 and 6 to zoom and
scroll horizontally in the right display to your liking, respectively.
◦ As in the left display, you can see a timeline (7) at the top and a vertical playhead
indicator (8) across the entire display.
In Pattern Arrange mode the pads behave as in Control mode. In particular, this allows you to record
Patterns while seeing them developing in the displays! See section ↑11.2, Recording Patterns in
Real Time for more information on this.
Finally, the Pattern Arrange mode provides useful commands for the selected Pattern:
▪ Turn Knob 4 (LENGTH) to adjust the Pattern Length (see section ↑11.1.6, Adjusting the
Arrange Grid and the Pattern Length).
▪ Press Button 3 (DOUBLE) to double the Pattern (see section ↑11.4.9, Doubling a Pattern).

Pattern Basics
▪ Press Button 4 (DUPLICATE) to duplicate the Pattern (see section ↑11.7.8, Duplicating,
Copying, and Pasting Patterns).
▪ Press Button 5 (EVENTS) to access Event Edit mode, which allows you to precisely adjust
the selected events (see section ↑11.4.4, Editing Selected Events/Notes).
See also
2 Managing Patterns [➙ 561]
2 Recording Patterns in Real Time [➙ 505]
2 Recording and Editing Modulation [➙ 550]
2 Recording Patterns with the Step Sequencer [➙ 512]
2 Selecting Events/Notes [➙ 522]
2 Editing Selected Events/Notes [➙ 530]
2 Adjusting the Step Grid and the Nudge Grid [➙ 501]
2 Group View and Keyboard View [➙ 495]
2 Following the Playback Position in the Pattern [➙ 492]
2 Adjusting the Arrange Grid and the Pattern Length [➙ 497]
2 Duplicating, Copying, and Pasting Patterns [➙ 575]
2 Doubling a Pattern [➙ 545]
11.1.2 Navigating the Event Area

The Event area in the Pattern Editor can be scrolled and zoomed in or out to fit your current
needs.
Navigating the Pattern Editor Horizontally (Time)

A zooming scroll bar is available at the bottom of the Pattern Editor. This tool allows you to
both scroll and zoom in/out horizontally in the Event area and the Control Lane on the time
axis:

Pattern Basics
2 1 3
The zooming scroll bar at the bottom of the Pattern Editor.
Use the horizontal zooming scroll bar as follows:

▪ Click the main part (1) of the scroll bar and hold the mouse button, then:
◦ Drag your mouse horizontally to scroll through the Event area on the time axis (com-
mon scroll bar behavior).
◦ Drag your mouse vertically to zoom in or out of the Event area on the time axis. The
center of the zoom operation will be exactly where you placed your mouse cursor when
you clicked.
▪ Click the left handle (2) of the scroll bar, hold the mouse button, and drag your mouse hori-
zontally to zoom in or out of the Event area while keeping the right border of the display at
a fix positioned in the Pattern.
▪ Similarly, click the right handle (3) of the scroll bar, hold the mouse button, and drag your
mouse horizontally to zoom in or out of the Event area while keeping the left border of the
display at a fixed position in the Pattern.
▪ Double-click the main part (1) to reset the zoom and display the entire Pattern.
The Event area and the Control Lane (if visible) always stay in sync on the time axis. See section
↑11.5.3, Creating and Editing Modulation in the Control Lane for more information on the Control
Lane.
Navigating the Pattern Editor Vertically (Sounds or Pitches)

When the Pattern Editor is in Group view, a classic scroll bar is available right of the Pattern
Editor. It allows you to scroll to hidden Sound slots in case all of them don’t fit in the Pattern
Editor.

Pattern Basics
When the Pattern Editor is in Keyboard view, a vertical zooming scroll bar is available on the
right of the Pattern Editor allowing you to both scroll and zoom in/out vertically on the pitch
axis. It works in the same way as the horizontal bar described above.
For more information on the Group and Keyboard view, see section ↑11.1.5, Group View and Key-
board View.
You can also adjust the height of the Pattern Editor in order to display more/less Sound slots at
once by resizing the Arranger above — see section ↑16.1.1, Navigating Song View.
Navigating the Event Area from the Controller

You can also control the position and zoom factor in the Event area from your controller:
1. Press SHIFT + VARIATION (Navigation) to enter Navigate mode.
2. Press Button 2 IDEAS to enter Ideas view (if necessary).
3. Turn Knob 5 (Pattern Zoom) to zoom in or out of the Edit area.
4. Turn Knob 6 (Pattern Scroll) to scroll through the Edit area.
11.1.3 Following the Playback Position in the Pattern

To have the Song view of the Arranger and Pattern Editor display the song position and scroll
automatically, turn on the Follow button.
Activate the Follow button to follow the playhead.
► To follow the playhead position during playback, click the Follow button in the MA-
SCHINE Header.
→ The Follow button lights up in the MASCHINE Header. The Song and Pattern Editor will
now display the current position.
The Follow function is automatically disabled as soon as you manually scroll in the Arranger or the
Pattern area (in the software or from your controller).

Pattern Basics
The Follow function affects both the Pattern Editor and the Song view of the Arranger simulta-
neously (see section ↑16.1.2, Following the Playback Position in Your Project for more infor-
mation on the Follow function in Song view).
Following the Playback Position on the Controller

► To follow the playhead position during playback, press FOLLOW.
→ The FOLLOW button lights up, and the software follows the playback position of the song.
The Follow function is disabled as soon as you manually scroll to another position in the song.
The Follow function simultaneously affects various displays in the software and on your con-
troller:
▪ In the software the Follow function affects both the Pattern Editor and the Song view of the
Arranger.
▪ On your controller the Follow function affects the displays in Arrange mode (for SECTION,
SCENE and PATTERN pages), Events mode, Step mode, and Note Repeat mode. Addition-
ally, in Step mode the Follow function affects the pads: With Follow enabled, when the
playhead has gone across all 16 steps shown by the pads on your controller, the pads
switch to the next 16 steps of the Pattern, if any. See section ↑11.3, Recording Patterns
with the Step Sequencer for more information on Step mode.
The follow function does not work if the playback position is outside the selected Pattern.
11.1.4 Jumping to Another Playback Position in the Pattern

You can use the timeline above the Event area to set the playback to the desired position. For
example, this can be useful to check a particular transition between events in your Pattern
without waiting for the whole Loop Range to be looped.
In the timeline above the Event area, a playhead (the little white vertical line) indicates the
current play position in the Pattern.

Pattern Basics
The playhead in the timeline shows you the current play position.
At any time you can jump to another position in the Pattern:

► Click anywhere in the timeline of the Event area to move the playhead to that position in
the Pattern.
Moving the playhead to another position in the timeline of the Pattern Editor automatically moves it
to the corresponding position in the Arranger. However, using the timeline of the Pattern Editor you
cannot jump outside the Pattern currently displayed. To do this, use the timeline of the Arranger
(see ↑16.4.1, Jumping to another Playback Position in Your Project) or use your controller (see be-
low).
Depending on the playback state, the following will happen:

▪ If playback is off, the playhead jumps to the closest step before your mouse cursor, accord-
ing to the current Step Grid settings. If the Step Grid is disabled, the playhead jumps to
the exact position you have clicked.
For more information on the Step Grid, see section ↑11.1.7, Adjusting the Step Grid and the Nudge
Grid.
▪ If playback is on, the playhead jumps to the closest position near your mouse cursor that
retains the current playhead position relative to the Pattern Grid division. This allows seam-
less jumps that don’t break the rhythm of your music. If the Pattern Grid is set to Off (i.e.
disabled) or Quick, the playhead position is retained relative to the current bar.

Pattern Basics
For more information on the Pattern Grid, see section ↑11.1.6, Adjusting the Arrange Grid and the
Pattern Length.
Example with playback on: Assuming that your Pattern is four bars long and the Pattern Grid
resolution is set to one bar, if you click around the 1.4 mark (4th beat of the 1st bar) in the
timeline when the playhead reaches the 3.3 mark (3rd beat of the 3rd bar), the playhead will
jump from the 3.3 to the 1.3 mark (3rd beat of the 1st bar) and continue from there.
11.1.5 Group View and Keyboard View

The Pattern Editor allows you to edit the events for all 16 Sound slots of the selected Group:
this is called the Group view.
► Click the Group View button (showing little rows) on the left of the Pattern Editor to
switch it to Group view:
In Group view each row of the Event area represents a different Sound slot.
In Group view, the Pattern Editor shows the events for all Sounds in the Group.

Pattern Basics
This view is well suited for rhythmic instruments (e.g., a drum kit), since you can see and edit
the events for all Sounds at once, without worrying about the pitch of the events you create or
edit.
The Keyboard View

Alternatively, you can switch the Pattern Editor to Keyboard view:
► Click the Keyboard View button (showing a little keyboard) on the left of the Pattern Edi-
tor to switch it to Keyboard view:
→ The Event area now only shows notes for the selected Sound. By adding or editing notes,
you can choose their pitch in semitones depending on where you place them on the verti-
cal axis, the lowest note being the lowest row.
In Keyboard view, the Pattern Editor shows all notes for a particular Sound.
If you select another Sound slot in the Sound List on the left, the whole Event area will switch
to the notes for that Sound.

Pattern Basics
On the left of the Event area, a vertical piano roll indicates the note corresponding to each row
in the Event area. Octaves are indicated by a number on each C key: e.g., the middle C, which
is noted C3 in the MASCHINE convention, will read “3.” Click any note on the piano roll to
trigger the selected Sound at that particular pitch.
This view is well suited for melodic instruments (e.g., a piano), since you can focus on a par-
ticular Sound, and edit notes at every pitch.
Switching Between Group and Keyboard View from the Controller
The Group/Keyboard view in the software is always in sync with the Group/Keyboard/Chords
mode of the pads on your controller: Switching between Group and Keyboard view in the soft-
ware will automatically switch between Pad Mode and Keyboard mode on your controller (and
inversely).
As a consequence, to switch the Pattern Editor between Group and Keyboard view, you simply
need to switch your pads between Group and Keyboard mode:
► Press PAD MODE on your controller to switch the Pattern Editor to Group view.
→ The Pattern Editor in the software switches to Group view.

► Press KEYBOARD/CHORDS on your controller to switch the Pattern Editor to Keyboard
view.
→ The Pattern Editor in the software switches to Keyboard view.

See The Pad View in the Software for more details on the various pad modes available on your
controller.
11.1.6 Adjusting the Arrange Grid and the Pattern Length

The Arrange Grid defines regularly spaced-out timings notably used in following situations:
▪ Adjusting the Pattern length (see below).
▪ Adjusting the Section lengths.
Adjusting the Arrange Grid

To adjust the Arrange Grid:

Pattern Basics
► To adjust the Arrange Grid resolution, click the value beneath the Groups in the Arrange
view and select the desired setting from the menu (see above for the available settings).
→ The divisions of the Arrange Grid now have the size you have just selected.
The following Arrange Grid resolutions are available:
▪ 1 Bar, 1/2 note, …, 1/16th note: Each of these settings lets you adjust the Pattern Length by
the specified increment.
▪ Off: The Arrange Grid is disabled. Notably, you can freely set the Pattern Length to any val-
ue or set the playback position to any location.
▪ Quick (default): With this setting, the available lengths for your Pattern are as follows: 1
bar, 2 bars, 4 bars, 8 bars, 12 bars, 16 bars, etc. (+ 4 bars each time starting from 4
bars). This handy mode allows you to quickly select from the most common Pattern
Lengths. For other uses of the Arrange Grid (adjusting the playback position and the Loop
Range), one-bar divisions are used instead.
Adjusting the Pattern Length

You can adjust the length of your Patterns to fit your needs. The Pattern Length is measured in
bars and beats, and Patterns can be up to 256 bars long. When you create a new empty Pat-
tern (see ↑11.7.3, Creating Patterns), the Pattern has the default length as defined in the De-
fault page of the Preferences panel (see ↑3.7.1, Preferences – General Page).
You can adjust the Pattern Length in two ways:

Pattern Basics
► To adjust the Pattern Length, click the Pattern Length: field and drag it up to make the
Pattern longer or drag it down to make it shorter. You can also double-click the displayed
value, enter a new value with your computer keyboard, and press [Enter] to confirm.
or
► To adjust the Pattern Length, drag the end marker of the Pattern (white arrow) in the
timeline:
With either method, the available lengths will depend on the current Pattern Grid resolution
(see above).
Reducing the length of a Pattern might exclude the last events from the Pattern. However
these events are not deleted: They simply appear darker in the Event area and will be included
back into the Pattern next time you extend it.
Events beyond the Pattern’s end can be edited in the software. However, you cannot edit them
from the controller. See section ↑11.4, Editing Events for more information on editing events.
Adjusting the Pattern Length and Arrange Grid on the Controller

On your controller, the length of the selected Pattern, along with the Arrange Grid resolution
used to modify this length, can both be adjusted using various methods: via the Pattern mode,
the Pattern Arrange mode, the Grid mode or the Record Prepare mode. Choose the method that
best fits your current workflow.
Method 1: Using the Pattern mode

In Pattern mode you can adjust the Pattern Length of the current Pattern:
1. Press and hold PATTERN to enter Pattern mode. You can also press PATTERN + Button 1
to pin Pattern mode so you can release PATTERN (see Pinning a Mode on the Controller).

Pattern Basics
2. Turn Knob 4 (LENGTH) to adjust the Pattern Length according to the current resolution of
the Pattern Grid.
Method 2: Using the Pattern Arrange mode

In Pattern mode you can adjust the Pattern Length of the current Pattern:
1. Press ARRANGER then Button 2 (PATTERN) to enter Pattern Arrange mode.
2. Turn Knob 4 (LENGTH) to adjust the Pattern Length according to the current resolution of
the Pattern Grid.
Adjusting the Grid

In Grid mode you can adjust the various grids used in MASCHINE, including the Arrange Grid
resolution. The Arrange Grid changes the size of steps by which Section Lengths and Pattern
Lengths can be adjusted.
1. Press SHIFT + FOLLOW (Grid) to enter Grid mode.
2. Press Button 3 (ARRANGE) to access the Arrange Grid settings.
The right display will show you which pad represents which resolution.
3. Select a resolution by pressing the corresponding pad. Alternatively you can press But-
ton 5, 6 or 8 to successively select each of the resolutions in the corresponding column.
→ The selected value is highlighted on the right display and the corresponding pad turns
fully lit.
To disable the Arrange Grid, simply select the OFF value in the top right corner:
► To disable the Pattern Grid, hold SHIFT + FOLLOW (Grid), press Button 3 (ARRANGE),
then press pad 16 (OFF).
You don’t need to explicitly enable the Pattern Grid on your controller: It is enabled as soon as you
select a resolution other than OFF (pad 16).

Pattern Basics
Adjusting the Grid Using Record Prepare Mode

This extra method is very useful if you are about to start a new recording. Indeed, the Record
Prepare mode (accessed by pressing the unlit REC button and holding it) is tightly integrated
into the recording workflow of Control mode. For all details please refer to section ↑11.2.2,
The Record Prepare Mode.
11.1.7 Adjusting the Step Grid and the Nudge Grid

The Step Grid defines regularly spaced-out timings (the “steps”) at which your events/notes can
be created, moved, etc. The Step Grid resolution corresponds to the step size, which directly
affects the precision of all Pattern editing actions, including quantization (see ↑11.4.7, Quan-
tizing Events/Notes section for more on quantization).
The Step Grid also affects the step sequencer on your controller: Increasing the Step Grid resolution
(i.e. decreasing the step size) will make more steps available in your Pattern for placing events. See
↑11.4.2, Creating Events/Notes for more information on the step sequencer.
In the Pattern Editor, the Step Grid is indicated by the gray vertical lines in the Event area:
The vertical lines represent the Step Grid in the Event area.
By default the Step Grid is active and the step size is 1/16th. However you may use another
step size or disable the Step Grid completely, as described below.
Depending on the current zoom factor and Step Grid resolution, if the vertical lines of the Step Grid
are too close to each other they will be hidden to avoid convoluting the display. For example, this
could be the case if you display 6 or 8 bars and choose a Step Grid resolution of 1/64th.

Pattern Basics
Regardless of the current Step Grid resolution, the gray lines on the beats (quarter notes) and the
black lines on the bars (notes) are always visible in the Event area.
Enabling or Disabling the Step Grid

► To enable or disable the Step Grid, click the Step Grid button (showing a little grid icon)
in the bottom left corner of the Pattern Editor.
The Step Grid is enabled.
Adjusting the Step Grid

The Step Grid resolution can be adjusted via the Step Size menu, showing a value next to the
grid icon at the bottom left of the Pattern Editor:
The Step Size menu lets you adjust the Step Grid resolution.
► To select the step size that will apply to all your editing actions, click the value next to
the grid icon at the bottom left of the Pattern Editor and choose the desired step size
from the drop-down menu. Values range from 1 Bar to 1/128 and also include triplet val-
ues. The default value is 1/16th note.
The Nudge Grid

In addition to the Step Grid described above, a secondary grid specifically controls the timings
at which existing events/notes can be nudged in the Pattern: the Nudge Grid.
Nudging events means shifting them a small amount ahead or behind their current position. See
↑11.4.4, Editing Selected Events/Notes for more information.
The Nudge Grid is based on the Step Grid:

▪ The Nudge Grid is active when the Step Grid is active. If the Step Grid is disabled, nudging
events will shift them at the maximum resolution of the sequencer.

Pattern Basics
▪ By default, the Nudge Grid resolution is half a step, meaning that events will be nudged by
half a step at a time.
▪ If you set the Nudge Grid resolution to a full step, the Nudge Grid will mirror the Step Grid
and you can nudge events with the same resolution as when creating or quantizing events.
▪ You can also set the Nudge Grid resolution to a smaller fraction of the Step Grid resolution.
This allows you to nudge events with even finer increments.
The Nudge Grid resolution can be adjusted in the context menu of the Event area:
► To adjust the Nudge Grid, right-click ([Ctrl]-click on macOS) on the background of the
Event area, select Nudge Grid in the menu, and choose a resolution from the values avail-
able in the submenu: Step, Step/2, Step/4, Step/8, and Step/16:
The Nudge Grid is not indicated in the Event area of the Pattern Editor.
Adjusting the Step Grid and the Nudge Grid on Your Controller
You can enable/disable the Step Grid and adjust the Step Grid and Nudge Grid resolution from
your controller.

Pattern Basics
Enabling/Disabling and Adjusting the Step Grid

To change the Step Grid resolution:
1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode.
2. Press Button 4 (STEP) to access the Step and Nudge Grid settings.
The right display will show you which pad represents a resolution:
3. Select a step size by pressing the corresponding pad. Alternatively you can repeatedly
press Button 5–8 to successively select each of the resolutions in the corresponding col-
umn.
→ The selected value is highlighted on the right display and the corresponding pad turns
fully lit.
To disable the Step Grid, simply select the OFF value in the top right corner:
► To disable the Step Grid, hold SHIFT + FOLLOW (Grid), press Button 4 (STEP), then
press pad 16 (OFF).
You don’t need to explicitly enable the Step Grid on your controller: It is enabled as soon as you
select a step size other than OFF (pad 16).
Adjusting the Nudge Grid

To change the Nudge Grid resolution:
1. Hold SHIFT + FOLLOW (Grid) to enter Grid mode.
2. Press Button 4 (STEP) to access the Step and Nudge Grid settings.
3. Turn Knob 4 (NUDGE) to select the desired Nudge Grid resolution.

Recording Patterns in Real Time
→ The new Nudge Grid resolution is directly in use, provided that the Step Grid is enabled
(see above).
11.2 Recording Patterns in Real Time

This section describes the various ways, features, and aids available on your controller to re-
cord Patterns as you play them in real time:
▪ The most common method is called overdub recording. Alternatively you can use replace
recording. Both are described in section ↑11.2.1, Recording Your Patterns Live.
▪ Right before you record a new Pattern, you can quickly enter Record Prepare mode to ad-
just a few important settings for your Pattern: ↑11.2.2, The Record Prepare Mode.
▪ At any time you can enable and customize the metronome: ↑11.2.3, Using the Metronome.
▪ You can also start the recording with a count-in: ↑11.2.4, Recording with Count-in.
▪ While recording you can let MASCHINE automatically quantize what you play on the pads:
↑11.2.5, Quantizing while Recording.
11.2.1 Recording Your Patterns Live

In Control mode your controller provides many tools to live record Patterns for the focused
Group.
Take your time to set up the pad sensitivity and velocity scaling to your personal taste — you will
have even more fun playing and recording with your controller! These settings can be found in Pref-
erences > Hardware > Pads. See ↑3.7.6, Preferences – Plug-ins Page for more information.
Overdub Mode
Overdub mode is the most usual recording mode. In this mode all pad hits are added as
events/notes, no matter if the Pattern already contains events.

Recording a Pattern: press PLAY then REC and hit some pads!
1. Press PLAY to start the sequencer.

The PLAY button lights up.
2. Press REC to begin recording.
The REC button lights up.
3. Now hit the pads you want to record and listen to what happens.
Each hit will create an event in the Pattern Editor, the event length depends on how long
you hold the pad. Events continue to be added to the Pattern, even as the Pattern cycles.
4. When you’re done, press REC again to stop recording the pads.
The REC button turns off. The sequencer keeps playing until you press PLAY again.
Replace Mode
When recording in Replace mode the events of the selected Sound(s) are replaced by what you
play.
1. Select the Sound(s) of which you want to replace events: In Pad Mode you can select
multiple Sounds (see section ↑5.1.3, Selecting Multiple Sounds or Groups); in Keyboard
mode only the focused Sound (the one played by your pads) will have its events replaced.
2. Press PLAY to start the sequencer.
The PLAY button lights up.
3. Press ERASE + REC to begin recording in Replace mode.
The ERASE and REC buttons light up.

4. Hit the pads you want to record.

Each hit will create an event in the Pattern Editor, the event length depends on how long
you hold the pad. Existing events for the selected Sound(s) are deleted as they are
reached by the playhead.
5. When you’re done, press REC again to stop recording the pads.
The ERASE and REC buttons turn off. The sequencer keeps playing until you press PLAY
again.
In order to prevent you from erasing events accidentally, in following situations Replace mode
is automatically disengaged (ERASE turns off) and the recording continues in Overdub mode:
▪ When the playback loops (whether at the end of the Loop Range or at the end of your
Project).
▪ When you stop the sequencer (by pressing the lit PLAY button).
▪ When you jump to another location in the Project (see section ↑11.1.4, Jumping to Anoth-
er Playback Position in the Pattern).
▪ When you switch your controller to another mode (by pressing, e.g., SCENE, PATTERN,
etc.).
▪ When you set the focus to another Group.
You can also manually disengage Replace mode and switch to Overdub mode:
► While recording in Replace mode, press the lit ERASE button to disengage Replace mode.
→ The recording goes on in Overdub mode (see description above).
You can also erase events without engaging record: If you hold ERASE together with a pad while
playing (or recording), all events of that pad at the current play position are deleted (see section
↑11.4.5, Deleting Events/Notes).
Where are the Events Recorded?

When you start recording the pads, the events are recorded as follows:
▪ If a Pattern is already selected (i.e. loaded in the Pattern Editor), the events are recorded
in that Pattern. This is also true if the playhead of the Arranger currently is within an auto-
matic repetition of the Pattern.

▪ If no Pattern is selected, engaging record (in Overdub or Replace mode) automatically cre-
ates an empty Pattern with the default Pattern Length. The new Pattern is used at the be-
ginning of the current Scene and repeated all along the Scene.
You can adjust the default Pattern Length in the Defaults page of the Preferences panel. See sec-
tion ↑3.7.1, Preferences – General Page for more information.
When you get ready to record, you can also use the Record Prepare mode on your controller to
quickly create a new Pattern with the desired length and directly start the recording! See sec-
tion ↑11.2.2, The Record Prepare Mode for more on this.
11.2.2 The Record Prepare Mode

The Record Prepare mode is very useful when you are about to start a new recording. Indeed, it
allows you to adjust the Pattern Length and the resolution of the Pattern Grid right before
starting a recording. This way you can quickly create a new Pattern with the desired pattern
length and directly start recording events in it!
You can also use the Record Prepare mode to adjust the length of an existing Pattern.
The Record Prepare Mode on Your Controller

1. With REC disabled, press and hold REC to enter Record Prepare mode.
After a second, the following displays appear:

2. While holding REC, to adjust the Pattern Length for the Pattern in which you are about to
record, you can turn Knob 4 (LENGTH) or press Button 5–8 to directly select from the
four length presets available: 2, 4, 8, or 16 bars.
3. Release REC.
→ The Record mode is engaged (REC is lit) and the Pattern has the length you defined.
Press PLAY to start the sequencer (if it’s not done already) and play the pads to start re-
cording! See section ↑11.2, Recording Patterns in Real Time for more information on re-
cording Patterns.
In Record Prepare mode can also enable or disable the metronome via Button 2. See section
↑11.2.3, Using the Metronome for more information on the metronome.
You can also enter Record Prepare mode while starting a recording in Replace mode (see ↑11.2.1,
Recording Your Patterns Live): Simply press ERASE + REC and hold REC until your controller
switch to Record Prepare mode. This is also true when using the Count-in (see ↑11.2.4, Recording
with Count-in).
11.2.3 Using the Metronome

The metronome will help you to keep time when recording in real time.
► Click the metronome icon in the MASCHINE Header to enable/disable the metronome:
The metronome can be heard only when the sequencer is playing.
The metronome signal is sent to the Cue bus. To know how to use the Cue bus, see section
↑13.2.6, Using the Cue Bus.
You can customize the metronome in various ways in the Preferences panel:
▪ You can adjust the metronome’s volume and time signature in the Preferences’ General
page (see section ↑3.7.1, Preferences – General Page for more details).

▪ You can select custom sounds for the metronome’s downbeats and upbeats in the Prefer-
ences’ Default page (see section ↑3.7.4, Preferences – Default Page for more details).
The time signature of the metronome can be set to differ from the time signature of your Project.
This can be useful to record unusual rhythms in a Pattern. Reminder: the time signature of your
Project is defined in the MASCHINE Header (MASCHINE in stand-alone mode) or by your host ap-
plication (MASCHINE running as a plug-in).
On the controller:
► Press SHIFT + TAP (Metro) in the Transport section to activate or deactivate the metro-
nome.
Adjusting the Metronome’s Volume and Time Signature

On your controller you can adjust the volume and time signature of the metronome in the re-
cording settings:
1. Press SETTINGS to show the recording settings.
2. Press Button 1 (GENERAL).
3. Turn Knob 1 (Metronome LEVEL) to adjust the metronome volume.
4. Turn Knob 2 (Metronome TIME) to select a time signature.
While adjusting the metronome settings you can enable/disable the metronome via Button 5 (MET-
RONOME). This is strictly equivalent to pressing SHIFT + TAP (Metro) as mentioned above.
11.2.4 Recording with Count-in

Count-in allows you to start the metronome before the sequencer and recording begins. This is
very handy if you want to start recording a Pattern exactly on the downbeat.
When recording starts with a Count-in, the following happens:
▪ The playhead jumps to the beginning of the Loop Range.
▪ You hear the metronome alone during the count-in phase (1, 2 or 4 bars).

▪ After the count-in phase, the recording starts in Overdub mode (see ↑11.2.1, Recording
Your Patterns Live). The metronome turns off if it was off before the Count-in, otherwise it
stays on.
You can adjust the metronome’s volume, time signature, and downbeat/upbeat sounds. See section
↑11.2.3, Using the Metronome for more information.
If the current Loop Range does not start at the beginning of a bar (i.e. on a downbeat), the
count-in phase will start with a downbeat, count the selected duration (1, 2 or 4 bars), and
then add the offset between the beginning of the bar in which the beginning of the Loop
Range is placed and the actual beginning of the Loop Range:
Count-in when the Loop Range starts at the beginning of a bar…
…and when the Loop Range doesn’t start at the beginning of a bar.
You can also use the Count-in to start a recording in Replace mode.
Adjusting the Count-in Duration

You can choose how long the metronome should be heard before the recording actually starts.
In the software this is done via the Count-in Length setting in the General page of the Prefer-
ences panel. Available values are 1 bar, 2 bars, and 4 bars. See section ↑3.7.1, Preferences –
General Page for more details on the Count-in and metronome settings available in the Prefer-
ences panel.
On your controller:

► Press SHIFT + REC to start the Count-in and record in Overdub mode.
or
► Press SHIFT + ERASE + REC to start the Count-in and record in Replace mode (see sec-
tion ↑11.2.1, Recording Your Patterns Live for more information on the Replace mode).
Adjusting the Count-in Duration

You can adjust the duration of the Count-in in the recording settings:
1. Press SHIFT + GRID to show the record settings.
2. Turn Knob 4 (LENGTH) to select a duration for the Count-in.
11.2.5 Quantizing while Recording

You can choose to have notes automatically quantized as you record. This is called Input Quan-
tization.
You can also quantize recorded notes at any time. See section ↑11.4.7, Quantizing Events/Notes for
more information.
11.3 Recording Patterns with the Step Sequencer

If you are familiar with classic drum machines you may want to program your Pattern using the
step sequencer.
11.3.1 Step Mode Basics

On your controller the step sequencer is available via the Step mode. The Step mode allows you
to program the steps to be played by the focused Sound in the current Group.
1. Press STEP to switch your controller to Step mode.
2. Move the 4-D encoder up or down to select a Sound.

Recording Patterns with the Step Sequencer
Step mode is a submode of Event Edit mode available on the PATTERN page of Arrange mode
(see section ↑11.4.4, Editing Selected Events/Notes for more information on the Event Edit
mode). Hence, it is very similar to the Event Edit mode.
The main difference with the Event Edit mode is that in Step mode each pad of your controller
represents one step of a 16-step sequence for the focused Sound. The size of the steps de-
pends on the current Step Grid settings. Lit pads indicate events on the corresponding steps.
For more information on the Step Grid, see section ↑11.1.7, Adjusting the Step Grid and the Nudge
Grid.
The displays of your controller show the following:
The Step mode on the controller displays: the first bar of an eight-bar Pattern.
The left display shows your entire Pattern, and the right display focuses on the portion of the
Pattern corresponding to the steps controlled by your pads. The details shown in the displays
depend on the current mode of your pads:
▪ If your pads are in Pad Mode:
◦ The left display shows events for all Sounds in the Group.
◦ The right display shows events for the focused Sound in one row at the top along with
their velocities underneath.
▪ If your pads are in Keyboard mode both displays show notes for the focused Sound across
the pitch scale. Depending on the pitches of the existing notes, turn Knob 7 to scroll pitch-
es in the right display (in the left display the vertical zoom factor is automatically adjusted
so that all notes appear in the display).

Recording a Sequence
1. Set the focus on the Sound you want to record by pushing the 4-D encoder up or down or
by holding SELECT and pressing the pad of the desired Sound (see section ↑3.3.7, Fo-
cusing on a Group or a Sound).
2. Press PLAY.
You will see the playback position in the form of a light chasing through the pads, starting
from pad 1, going up all four rows from left to right and ending at pad 16. At any time
you can enable/disable PLAY as you see fit (e.g., to check how your actions affect the Pat-
tern).
3. Press an unlit pad to create an event on that step.
The pad lights up to indicate that there is an event on that step. The new event is one
step long. The next time the playback position reaches that step the new event will be
played.
4. Press a lit pad to remove that step.
⇨ The pad turns off and the event on that step is deleted.
5. When you are done with the sequence of that Sound, repeat the previous steps to create
sequences for all desired Sounds.
This way it’s easy to quickly put some drums together.
In Step mode events are created with following settings:
▪ The event pitch is set to the Sound’s base key. To understand how to change the base key
of your Sounds, see section Adjusting the Base Key.
▪ The event velocity is defined by how hard you hit the pads, unless you have enabled the
Fixed Velocity option (see below).
▪ The event length is set to one step (hence, it depends on the current Step Grid settings).
▪ Obviously, the event position is defined by the pad you hit.
Checking Your Sequence (Right Display)

The right display of your controller provides more information on the sequence:

▪ Individual events/notes are represented by rectangular blocks. These always mirror the
steps currently represented by your pads. In both Group and Keyboard mode, velocities are
indicated by the event transparency: the more transparent the event, the softer the velocity
(in Pad Mode velocities are additionally indicated under each event in the display).
▪ The playback position in the Pattern is indicated by a playhead travelling from left to right.
▪ The Step Grid is displayed in the background.
To switch the right display and your pads to another part of the sequence, you have two possi-
bilities:
► Press the FOLLOW button or Button 5 (FOLLOW) above the display to enable/disable the
Follow function.
When Follow is enabled, the right display and your pads automatically switch to the next 16
steps as soon as the playback position reaches the end of the portion currently displayed.
11.3.2 Editing Events in Step Mode

In Step mode you can quickly adjust the parameters of events on particular steps.
Editing Events in Step Mode on the Controller

You can adjust the various settings of your events via the left display:
1. Press and hold for a second the pad(s) of the step(s) you want to edit. If you want to ad-
just the last step you have created, you can skip this step: the last created event is auto-
matically selected. You can also use the 4-D encoder or the Page buttons left of the dis-
plays to quickly select individual steps.
2. Use Knobs 1–4 as described in the table below to edit the position, length, pitch, and
velocity of the selected events:

Editing Tool Description

Knob 1 (POSITION) Nudges selected events, i.e. shifts selected events on the timeline
according to the Nudge Grid (the events’ offsets relative to the Nudge
Grid are preserved). Hold SHIFT while you turn the knob to temporarily
override the Nudge Grid quantization and adjust the positions in
extremely small increments. See section ↑11.1.7, Adjusting the Step
Grid and the Nudge Grid for more information on the Nudge Grid.
If one event only is selected, its position is shown under POSITION. If
several events are selected, the field shows (MULTI).
Knob 2 (PITCH) Transposes the selected events by semitones.
When only one event is selected, its pitch is shown under PITCH. If
Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different
velocities, the velocities differences are retained as long as the limits
(0 and 127) are not reached. When only one event is selected, its
velocity is shown under VELOCITY. If several events are selected, the
field shows (MULTI).
Knob 4 (LENGTH) Moves the end of the selected events according to the Step Grid (the
offset of each events' end relative to the Step Grid is preserved). Hold
SHIFT while you turn the knob to temporarily override the Step Grid
quantization and adjust the lengths in extremely small increments. If
the events have different lengths, the length differences are retained
as long as no event becomes shorter than one step.
When only one event is selected, its length is shown under LENGTH. If
Quick Edit Shortcuts for the Selected Steps

You can also quickly adjust the velocity, pitch, and position of any events via the Quick Edit
shortcuts:
1. Press and hold the pad(s) of the step(s) you want to edit.

2. To adjust the events’ velocity, press the VOLUME (Velocity) button and turn the 4-D en-
coder.
The adjusted value appears on the left display.
3. To finely adjust the events’ position, SWING (Position) button and turn the 4-D encoder.
4. To adjust the events’ pitch, press TEMPO (Tune) button and turn the 4-D encoder.
5. When you are done, release the pad(s).
The event position will be adjusted independently of the current Step Grid: It is designed as a fine
adjustment within the current step.
11.3.3 Recording Modulation in Step Mode

You can also record modulation in Step mode. This is helpful when you want to set value
changes at a specific time in a Pattern.
For all details on modulation please refer to section ↑11.5, Recording and Editing Modulation.
1. Press and hold the pad(s) representing the step(s) you want to modulate (you may need to
use Knob 6 to navigate beforehand to the desired part of the Pattern).
The displays will switch to a mode similar to Control mode displaying parameter values.
2. Like in Control mode, use Button 2 or 3 to select the Group or Sound level, respectively;
press PLUG-IN or CHANNEL to display the Plug-ins or Channel properties at this level;
use the 4-D encoder to select the desired Plug-in slot or set of Channel properties; and
use the Page button (left of the displays) to select the Parameter page containing the pa-
rameter you want to record modulation for.
Only parameters that can be modulated will appear at the bottom of the displays.
3. While holding the pad(s), turn any of the Knobs 1–8 under the displays to edit the modu-
lation value of the corresponding parameter for this step.
→ The modulation values are recorded for this step.

Editing Events
A modulation value that is set for a step is valid for this step only. If you want it to affect several
steps of the Pattern, hold all the corresponding pads while setting the modulation value.
11.4 Editing Events

Many creation and editing commands on events/notes are available directly via mouse actions
in the Event area of the Pattern Editor. They will be applied according to the selected Step
Grid resolution (see ↑11.1.7, Adjusting the Step Grid and the Nudge Grid). In Group view, the
Sound in focus will change according to the row you click in. Selected notes are highlighted.
Events vs. Notes

Basically events and notes are the same thing: a trigger for a Sound with a particular velocity,
pitch, length, etc. If the word “note” is used when dealing with melodic instruments and
“event” when dealing with drum kits, keep in mind that both words have the same meaning in
the MASCHINE context.
11.4.1 Editing Events with the Mouse: an Overview

In the software you can choose between Select mode and Pencil mode. Each of them provide
different mouse actions in the Event area.
The Edit Mode selector.
► To toggle between Select mode and Pencil mode, click the Pencil icon at the bottom left
of the Pattern Editor. You can also select these modes from the Edit menu, or by pressing
the letter E on your computer keyboard.
▪ Select mode: Provides an exhaustive set of actions for creating, selecting, editing, and de-
leting events/notes.

Editing Events
▪ Pencil mode: Provides quick actions for creating, resizing and deleting events/notes.
Listed here are all available mouse actions from the Mouse Edit modes. For more details on
specific actions, please refer to the other sections in ↑11.4, Editing Events.
Mouse in Select Mode

The following table is an overview of available mouse actions in Select mode (works in both
Group view and Keyboard view, see ↑11.1.5, Group View and Keyboard View).
Action Function
Creating Notes
(see ↑11.4.2, Creating Events/Notes for
details)
Double-click in Event area’s background Creates a note.
Deleting Notes
(see ↑11.4.5, Deleting Events/Notes for
details)
Double-click note Delete selected notes.
Right-click (macOS: [Ctrl]-click) and select Delete selected notes.
Delete from the menu.
Selecting Notes
(see ↑11.4.3, Selecting Events/Notes for
details)
Click unselected note Select a note.
[Shift] + click unselected note Add note to current selection.
[Shift] + click selected note Remove note from selection.
Drag in Event area’s background Multiple selection (selection frame).
Click in Event area’s background Deselect all notes.

Editing Events
Action Function
Editing Selected Notes*
(see ↑11.4.4, Editing Selected Events/Notes
for details)
Drag note horizontally Moves selected notes in time according to the
Step Grid.
[Ctrl] + drag note horizontally Freely moves selected notes in time (overrides
the Step Grid quantization).
(macOS: [Cmd] + drag note)
[Alt] + drag note Duplicates selected notes. When you drag
horizontally, the copies are moved in time
according to the Step Grid.
Drag left/right note border Moves the start/end of selected notes
according to the Step Grid, thereby resizing
the notes.
[Ctrl] + drag left/right note border Freely moves the start/end of selected notes
(overrides the Step Grid quantization),
(macOS: [Cmd] + drag left/right border)
thereby resizing the notes.
Drag note vertically Group view: Moves selected notes to another
Sound of the Group.
Keyboard view: Transposes selected notes.
* When editing, mouse actions can be performed on any of the selected notes — they will ap-
ply to all selected notes.
Mouse in Pencil Mode

When Pencil mode is enabled, you can use the mouse draw events or notes:
► Click in the background of the Event area and drag the mouse with the button pressed to
set notes wherever you move the cursor. Notes are created for the selected Sound.
The other way round:

Editing Events
► Click a note and move the mouse cursor with the button pressed to erase all notes under
the mouse cursor. Only Notes for the selected Sound are erased.
11.4.2 Creating Events/Notes

In the software you can create new events anywhere in the Event area using your mouse. The
procedure depends on the active Mouse Edit mode (Select or Pencil).
Each event is created at the beginning of the step in which your mouse cursor is located, ac-
cording to the Step Grid settings. If the Step Grid is disabled, the event is created at the exact
position of your mouse cursor.
In Group view you can create events at the base key for all Sounds in the Group, no matter
which Sound is focused. In Keyboard view you can create events at all keys (pitches) for the
focused Sound — you need to set the focus to another Sound in order to create events for that
Sound.

► To create a new event in Select mode, double-click at the desired location in the back-
ground of the Event area.

► To create a new event in Pencil mode, simply click at the desired location. Click and hold
your mouse and move the cursor horizontally to quickly create a series of events.
Creating Events beyond the Pattern’s End

If you create an event beyond the end of the Pattern in the Event area, the Pattern is automati-
cally extended to the next Pattern Grid division after the new event so that the Pattern includes
this new event.
For more information on the Pattern Length and the Pattern Grid, see section ↑11.1.6, Adjusting
the Arrange Grid and the Pattern Length.

Editing Events
Your controller offers numerous ways to create events — on your controller this is referred to as
“recording Patterns.” For details on this please refer to section ↑11.2, Recording Patterns in
Real Time and ↑11.3, Recording Patterns with the Step Sequencer.
11.4.3 Selecting Events/Notes

Use Select mode to select events/notes in your Pattern. Select mode is the default mode indi-
cated by the unhighlighted Pencil icon. Notably, the Select mode allows you to define which
events you apply your edits.
Select mode indicated by the unhighlighted Pencil icon.
Action Function
Selecting Events
Click unselected event Select event
[Shift] + click unselected event Add event to current selection
[Shift] + click selected event Remove event from selection
Drag in Event area’s background Multiple selection (selection frame)
Click in Event area’s background Deselect all events
Selecting All Events

You can select all events displayed in the Event area via the usual keyboard shortcut on your
operating system:
► Click anywhere in the Event area and press [Ctrl] + [A] ([Cmd] + [A] on macOS) on your
computer keyboard to select all displayed events.

Editing Events
→ If the Pattern Editor is in Group view this will select all events for all Sounds in the Pat-
tern. If the Pattern Editor is in Keyboard view this will select all events at all pitches for
the focused Sound.
Selecting Events/Notes on the Controller

Using your controller, you can quickly select particular events from the current Pattern and in
order to edit them without affecting the other events.
To select events in your Pattern:
1. Hold EVENTS to enter Event Edit mode, or press EVENTS + Button 1 to pin the Event
Edit mode.
2. Press Button 2 (SELECT) to enter Event Select mode.
→ The EVENTS button lights up. You can now select notes and events using various tools:
the 4-D encoder, the pads, Buttons 5–8, Knobs 1–4, and the Page buttons (left of the
displays).
The Event Select mode complements Event Edit mode. You can quickly switch between the two
modes by pressing Button 2 (SELECT).
Depending on the current pad mode (Pad Mode or Keyboard mode, see ↑6.1.1, The Pad View
in the Software), these tools will select events differently, as described in the following para-
graphs.
Event Select Mode: Selecting Events (Pads in Pad Mode)

In Pad Mode (the default mode of the pads) each pad represents a specific Sound of the fo-
cused Group.
When your pads are in Pad Mode the Event Select mode looks as follows:

Editing Events
Selecting events on the controller with the pads in Pad Mode.
▪ The left display shows an overview of the events in your Pattern for all Sounds in the
Group.
▪ The right display shows a detailed view of a portion of your Pattern with events and their
velocities for the focused Sound.
You can adjust the right display as follows:
1. Turn Knob 5 to zoom in/out of events on the right display.
2. Turn Knob 6 to scroll events on the right display.
3. Turn Knob 7 to increase/decrease the size of the Sound lane.

Editing Events

Pads Unlit pads indicate Sounds for which the Pattern has no events.
Nothing happens when you press them.
Dimmed pads indicate Sounds for which events can be selected: Press
any dimmed pad to add all events for that Sound to the selection. The
pad turns fully lit to indicate that all its events are selected. You can
press any additional dimmed pad to add its events to the selection.
Pressing a dimmed pad additionally switches the focus to the
corresponding Sound.
Fully lit pads indicate Sounds for which all events are selected: Press
any lit pad to remove all its events from the selection (the pad turns
dim lit).
4-D encoder Select a Sound: Move the 4-D encoder up/down to select a Sound.
Select an event: Turn the 4-D encoder to select an event.
Nudge: Move the 4-D encoder left/right to nudge the selected event.
Press Button 4 (GRID) to move events in relation to the selected Step
Grid value.
Change event length: Press and turn the 4-D encoder to change the
length of the selected event. Press Button 4 (GRID) to resize events in
relation to the selected Step Grid value.
Button 2 (SELECT) Switch between Event Select mode and Event Edit mode.
Button 4 (GRID) Selects/deselects the Step Grid. When the GRID is selected, events
can be nudged or resized with the 4-D encoder relative to the value of
the Step Grid. Press SHIFT + FOLLOW (Grid) to access the Step Grid.
Button 5/6 (ALL/ Selects/deselects all events for all Sounds, i.e. all events in the
NONE) Pattern.
Button 7/8 (UP/ Switch the focus to the previous/next Sound in order to add or remove
DOWN) some of its events to/from the selection (using Knob 1, 2, and 4, and
the Page buttons, see below). The name of the selected Sound is
indicated under the EVENTS label in the top left corner of the left
display.

Editing Events

Page buttons Drop the current selection and select the previous/next individual
event for the focused Sound.
Knob 1/2 (START/ Define the start and end points in the timeline for the selected event
END) of the focused Sound. All events within this time interval are included
into the selection.
Knob 4 (EVENT) Selects individual events for the focused Sound using the events’
index number (their “order of appearance” in the Pattern). If the
selection contains more than one event, the EVENT field indicates
(MULTI).
Knob 5 Turn Knob 5 to zoom in/out of events on the right display.
Knob 6 Turn Knob 6 to scroll events on the right display.
Knob 7 Turn Knob 7 to increase/decrease the size of the Sound lane on the
right display.
By combining these tools you can precisely define the selection of events you want to edit.
Event Select Mode: Selecting Notes (Pads in Keyboard mode)

In Keyboard mode each pad represents a specific pitch of the focused Sound.
When your pads are in Keyboard mode the Event Select mode looks as follows:

Editing Events
Selecting events on the controller with the pads in Keyboard mode.
▪ The left display shows an overview of the events in your Pattern for all pitches of the fo-
cused Sound.
▪ The right display shows a detailed view of a portion of your Pattern containing events on
two octaves.
1. Turn Knob 5 to zoom in/out of events on the right display.
2. Turn Knob 6 to scroll events on the right display.
3. Turn Knob 7 to increase/decrease the size of the Sound lane.

Editing Events

Pads Unlit pads indicate pitches at which the Pattern has no notes. Nothing
happens when you press them.
Dimmed pads indicate pitches at which notes can be selected: Press
any dimmed pad to add all notes at that pitch to the selection. The
pad turns fully lit to indicate that all its notes are selected. You can
press any additional dimmed pad to add its notes to the selection.
Fully lit pads indicate pitches at which all notes are selected: Press any
lit pad to remove all its notes from the selection (the pad turns dim
lit).
4-D encoder Select an event: Turn the 4-D encoder to select an event.
Nudge: Move the 4-D encoder left/right to nudge the selected event.
Press Button 4 (GRID) to move events relative to the value of the Step
Grid.
Change pitch: Move the 4-D encoder up/down to change the pitch of
the selected event.
Change event length: Press and turn the 4-D encoder to change the
length of the selected event. Press Button 4 (GRID) to resize events
relative to the value of the Step Grid.
Button 2 (SELECT) Switch between Event Select mode and Event Edit mode.
Button 4 (GRID) Selects/deselects the Step Grid. When the GRID is selected, events
can be nudged or resized with the 4-D encoder relative to the value of
the Step Grid. Press SHIFT + FOLLOW (Grid) to access the Step Grid.
Button 5/6 (ALL/ Selects/deselects all notes for all pitches of the current Sound, in
NONE) short all events of that Sound.
Button 7/8 (UP/ Switch the focus to the previous/next Sound in order to add or remove
DOWN) some of its notes to/from the selection. The name of the selected
Sound is indicated under the EVENTS label in the top left corner of
the left display.

Editing Events

Knob 1/2 (START/ Define the selection’s start and end points in the timeline for the
END) focused Sound. All notes within this time interval and within the pitch
interval defined by LOW and HIGH (see below) are included into the
selection.
Knob 3/4 (LOW/ Define the selection’s lowest and highest pitch for the focused Sound.
HIGH) All notes within this pitch interval and within the time interval defined
by START and END (see above) are included into the selection.
By combining these tools you can precisely define the selection of notes you want to edit.
Selecting Events/Notes on the Controller

Using your controller you can select particular events from the selected Pattern. This will allow
you to edit them without affecting the other events.
For example in Pad Mode this can be very useful to quickly quantize a few drum instruments in
your kit without affecting the rest of the kit: Press SHIFT + SELECT + the pads of the desired
drums then press SHIFT + pad 5 (QUANTIZE), and you’re done!
You can select notes and events using the pads. Depending on the current pad mode (Pad
Mode or Keyboard mode, see ↑6.1.1, The Pad View in the Software), events will be selected
differently:
▪ In Pad Mode (the default mode of the pads), each pad represents a specific Sound:
◦ Unlit pads indicate Sounds for which the Pattern has no events. Nothing happens
when you press them.
◦ Dimmed pads indicate Sounds for which events can be selected: Press any dimmed
pad to add all events for that Sound to the selection. The pad turns fully lit to indicate
that all its events are selected. You can press any additional dimmed pad to add its
events to the selection. Pressing a dimmed pad additionally switches the focus to the
corresponding Sound.

Editing Events
◦ Fully lit pads indicate Sounds for which all events are selected: Press any lit pad to
remove all its events from the selection (the pad turns dim lit).
▪ In Keyboard mode, each pad represents a specific pitch of the focused Sound:
◦ Unlit pads indicate pitches at which the Pattern has no notes. Nothing happens when
you press them.
◦ Dimmed pads indicate pitches at which notes can be selected: Press any dimmed pad
to add all notes at that pitch to the selection. The pad turns fully lit to indicate that
all its notes are selected. You can press any additional dimmed pad to add its notes to
the selection.
Fully lit pads indicate pitches at which all notes are selected: Press any lit pad to remove all its
notes from the selection (the pad turns dim lit).
11.4.4 Editing Selected Events/Notes

Once you have selected particular events, you can edit them in various ways.
In the software you can edit events with your mouse only if Select mode is selected in the Edit
Mode selector. Select mode is the default mode indicated by the unhighlighted Pencil icon:
Select mode indicated by the unhighlighted Pencil icon.
Action Function
Editing Selected Notes
Drag note horizontally Moves selected notes in time according to the Step Grid
(see quantizing rules below).
[Ctrl] + drag note horizontally Freely moves selected notes in time (overrides the Step
Grid quantization).
(macOS: [Cmd] + drag note)

Editing Events
Action Function
[Alt] + drag note Duplicates selected notes. When you drag horizontally, the
copies are moved in time according to the Step Grid (see
quantizing rules below).
Drag left/right note border Moves the start/end of selected notes according to the Step
Grid, thereby resizing the notes (see quantizing rules
below).
[Ctrl] + drag left/right note Freely moves the start/end of selected notes (overrides the
border Step Grid quantization), thereby resizing the notes.
(macOS: [Cmd] + drag left/right
border)
Drag note vertically Group view: Moves selected notes to another Sound of the
Group.
Keyboard view: Transposes selected notes.
Double-click note Deletes selected notes.
Right-click (macOS: [Ctrl]-click) Deletes selected notes.
If multiple notes are selected, mouse actions can be performed on any of the selected notes —
they will apply to all selected notes.
If you perform any of the actions listed above on a note not included in the current selection,
the selection is dropped and the note you are editing will be the only note affected by your
edit.
Quantization when Editing a Single Event/Note

By default, all dragging actions on the time axis are quantized according to the Step Grid:
▪ When you drag a note (or its duplicate) horizontally, its original offset with the Step Grid is
preserved, unless you drag the note near a grid line — in that case it will snap to the grid.
▪ When you resize a note by dragging its start/end border, the new start/end border will snap
to the Step Grid.

Editing Events
To override the quantization and freely adjust the note position or size, hold [Ctrl] ([Cmd] on ma-
cOS) while dragging!
Quantization when Editing Multiple Events/Notes at Once

When you drag multiple notes (or their duplicates) on the time axis or resize them according to
the Step Grid, the various notes in the selection are affected as follows:
▪ The note you click is moved or resized according to the quantizing rule described above.
▪ All other notes in the selection are moved or resized by the same amount (regardless of
their own quantizing rules). When resizing, if the notes have different lengths the length
differences are retained as long as no event becomes shorter than one step.
For example, if you have a drum roll, a flam or any custom sequence happening right before a beat,
this allows you to move the whole sequence to another beat with a perfect timing while keeping its
feel untouched.
Dragging vs. Nudging

Dragging with the mouse is different from the Nudge command on your controller:
▪ Whereas dragging is based on the Step Grid, the Nudge command is based on the Nudge
Grid (see section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid).
▪ Whereas you can drag notes beyond the end of the Pattern, nudged notes reaching the end
of the Pattern are automatically sent to the beginning of the Pattern.
▪ If a note is not on a Step Grid division, dragging it with Step Grid enabled will alternate
between snapping to Step Grid divisions and snapping to positions that preserve its original
offset with the Step Grid (see quantization rule above).
In the software the Nudge command is not available with your mouse but via a keyboard short-
cut:
► Press [Alt] + the left/right cursor key on your computer keyboard to nudge the selected
notes by one Nudge Grid division. If no event is selected, all events in the Pattern will be
affected.
See the hardware section below for more information on the Nudge command.

Editing Events
Editing Selected Events/Notes on the Controller

Your controller provides various features in order to edit the events you have selected.
Editing Events and Notes via the Event Edit Mode

The Event Edit mode provides you with a few essential editing functions. These functions will
be applied to the current selection of events.
► Press EVENTS to enter Event Edit mode.
→ The EVENTS screen appears.

If your pads are in Pad Mode the Event Edit mode looks as follows:
The Event Edit mode on the controller with pads in Pad Mode.
▪ The left display shows an overview of the events in your Pattern for all Sounds in the
Group.
▪ The right display shows a detailed view of a portion of your Pattern with events and their
velocities for the focused Sound.
If your pads are in Keyboard mode the Event Edit mode looks as follows:

Editing Events
The Event Edit mode on the controller with pads in Keyboard mode.
▪ The left display shows an overview of the events in your Pattern for all pitches of the fo-
cused Sound.
▪ The right display shows a detailed view of a portion of your Pattern containing events on
two octaves.
1. Turn Knob 5 and 6 to zoom in/out and scroll on the time axis (horizontal axis), respective-
ly.
2. If your pads are in Keyboard mode, turn Knob 7 to scroll on the pitch axis (vertical axis)
from events at the lowest pitch until events at the highest pitch.
Under the left display Knob 1–4 provide following editing functions:

Editing Events
Editing Tool Description

Knob 1 (POSITION) Nudges selected events, i.e. shifts selected events on the timeline
according to the Nudge Grid (the events’ offsets relative to the Nudge
Grid are preserved). Hold SHIFT while you turn the knob to temporarily
override the Nudge Grid quantization and adjust the positions in
extremely small increments. See section ↑11.1.7, Adjusting the Step
Grid and the Nudge Grid for more information on the Nudge Grid.
If one event only is selected, its position is shown under POSITION. If
See also the alternate method described below.
Knob 2 (PITCH) Transposes the selected events by semitones.
If one event only is selected, its pitch is shown under PITCH. If several
events are selected, the field shows (MULTI).
See also the alternate method described below.
Knob 3 (VELOCITY) Adjusts the velocity of the selected events. If the events have different
velocities, the velocities differences are retained as long as the limits
(0 and 127) are not reached. If one event only is selected, its velocity
is shown under VELOCITY. If several events are selected, the field
shows (MULTI).
Knob 4 (LENGTH) Moves the end of the selected events according to the Step Grid (the
offset of each event’s end relative to the Step Grid is preserved). Hold
SHIFT while you turn the knob to temporarily override the Step Grid
quantization and adjust the lengths in extremely small increments. If
the events have different lengths, the length differences are retained
as long as no event becomes shorter than one step.
If one event only is selected, its length is shown under LENGTH. If
You can also use these editing functions to quickly create variations of your Patterns during a live
performance.

Editing Events
The following paragraphs will show you alternate editing functions available in the EDIT sec-
tion of your controller. These functions also work outside Select mode.
Nudge Events and Notes

Nudging allows you to shift selected events by the Nudge Grid resolution (the events’ offsets
relative to the Nudge Grid are preserved).
The Nudge Grid is based on the Step Grid and allows you to define even smaller jumps than the
Step Grid divisions to move your events more precisely. See section ↑11.1.7, Adjusting the Step
Grid and the Nudge Grid for more details.
► Press SHIFT + pad 7 (NUDGE <) to nudge the selected events to the left, or SHIFT + pad
8 (NUDGE >) to nudge the selected events to the right. If nothing is selected, all event/
notes in the Pattern will be affected.
Setting the Step Grid to “Off” and then using Nudge will shift events in extremely small incre-
ments. This can be used to creatively add groove to Patterns, for example, shifting the snare drum
so that it is ever so slightly late, or “in the pocket” (something a funk drummer does naturally!).
Transpose Events and Notes

You can transpose selected events by semitones or octaves to match their pitch to your taste.
► To transpose the selected events down in semitones press SHIFT + pad 13 (SEMI-
TONE -); to transpose the selected events up press SHIFT + pad 14 (SEMITONE +). If
nothing is selected, all event/notes in the Pattern will be affected.
To transpose the selected events down in octaves press SHIFT + pad 15 (OCTAVE -); to trans-
pose the selected events up press SHIFT + pad 16 (OCTAVE +). If nothing is selected, all
events in the Pattern will be affected.
11.4.5 Deleting Events/Notes

In the software you can delete events in the Event area using your mouse. The procedure de-
pends on the active Mouse Edit mode (Select or Pencil).

Editing Events

► To delete events in a Pattern, double-click them, alternatively, right-click (macOS: [Ctrl]-
click) and select Delete from the menu. This also works when multiple events are select-
ed.
If some events are selected, you can also press [Del] or [Backspace] on your computer key-
board to delete them. See section ↑11.4.3, Selecting Events/Notes to know how to select
events.

► To delete an event, simply click it. Click and hold an event and move the cursor to quickly
delete series of events.
Deleting Events/Notes on the Controller

Your controller provides you with several tools to delete events from the current Pattern.
Quick Deleting Events or Notes

The quickest and easiest way to delete events is the following:
► Press EVENTS + ERASE + the desired pad to delete from the Pattern all events for that
Sound (if pads are in Pad Mode) or all notes at that pitch for the focused Sound (if pads
are in Keyboard mode).
For more information on Pad modes, please refer to section ↑6.1.1, The Pad View in the Software.
As soon as you hold EVENTS + ERASE, some pads light up to indicate where there is some-
thing to delete:
▪ If your pads are in Pad Mode, the lit pads show you the Sounds for which the Pattern con-
tains events.
▪ If your pads are in Keyboard mode, the lit pads show you the pitches (of the focused
Sound) for which the Pattern contains events.
In other terms you don’t need to press any unlit pad, since there are no events to delete there.
While holding EVENTS + ERASE you can press several pads to delete their events.

Editing Events
If you accidentally deleted events, press UNDO (in the EDIT section) to undo it!
Deleting the Selected Events or Notes

Once you have selected particular events (see ↑11.4.3, Selecting Events/Notes for more on
this), you can delete them from the Pattern:
► Press SHIFT + pad 9 (CLEAR) to erase the selected events. If nothing is selected, all
event/notes in the Pattern will be affected.
Deleting Events or Notes while Playing

If the sequencer is currently playing, you can selectively erase events at the play position:
► While the Pattern is playing, hold ERASE + the desired pad to progressively delete the
events for that Sound (if pads are in Pad Mode) or the notes at that pitch for the focused
Sound (if pads are in Keyboard mode) as they are reached by the playhead.
→ As long as you hold the pad, the corresponding events are deleted as the playhead moves
on.
You can use this to selectively erase notes at a particular place in the Pattern.
This might take some time getting used to, especially when the tempo is very fast, but you can al-
ways use undo/redo (SHIFT + pad 1, SHIFT + pad 2) to get back to where you were before.
Deleting Events for the Entire Group at Playback Position

Using your controller you can erase events for all Sounds in the Group at the playback position.
► While the Pattern is playing, hold ERASE + the desired Group button A–H to progressively
delete events for all Sounds in that Group as they are reached by the playhead.
Deleting Events or Notes via the Transport Functions

If the sequencer is not currently playing, you can erase events on either side of the playhead
by manually moving the playhead:

Editing Events
► While playback is off, hold ERASE and turn the 4-D encoder to jump to the previous/next
step and delete all events found on the way for the selected Sound(s).
Please note the following:
▪ If multiple Sounds are selected, all of them will be affected. See section ↑5.1.3, Selecting
Multiple Sounds or Groups for more information.
▪ The jumps are based on the step size that is on the Step Grid setting. See section ↑11.1.7,
Adjusting the Step Grid and the Nudge Grid for more information.
The command has the same effect whether your pads are in Pad Mode or in Keyboard mode.
11.4.6 Cut, Copy, and Paste Events/Notes

You can also cut, copy and paste selected events to another location in the same Pattern or to
a different Pattern and for the same Sound or another one (possibly in another Group).
To cut, copy, and paste the selected events/notes in the software, do the following:
1. To cut or copy the selected events, press [Ctrl] + [X] or [Ctrl] + [C] ([Cmd] + [X] or [Cmd]
+ [C] on macOS), respectively. You can also right-click ([Ctrl]-click on macOS) in the
background of the Event area and select Cut or Copy from the context menu.
The selected events are placed in the clipboard, ready to be pasted. If you selected the
Cut command, they are additionally removed from their original location.
2. If you want to paste the events in another Pattern, open the Pattern Manager, double-
click the Pattern in which you want to paste the events (see section ↑11.7.1, The Pattern
Manager and Pattern Mode for more information on the Pattern Manager).
3. Click anywhere in the Event area of the newly selected Pattern.
4. To paste the events, press [Ctrl] + [V] ([Cmd] + [V] on macOS). You can also right-click
([Ctrl]-click on macOS) the desired location in the background of the Event area and se-
lect Paste from the context menu.
→ The events will be pasted according to the rules described hereinafter. If no event is se-
lected, all displayed events will be affected: in Keyboard view these are all events of the
focused Sound; in Group view these are all events of all Sounds within the Group (see
section ↑11.1.5, Group View and Keyboard View for more information on Group view and
Keyboard view).

Editing Events
If you have copied events from multiple Sounds as the Pattern Editor was in Group view, and then
switch to Keyboard view before pasting the events, only the copied events from the Sound previous-
ly focused will be pasted in the new focused Sound.
Pasting Rules
The location at which the cut or copied events will be pasted depends on the following:
▪ In any case the first pasted event will be quantized to the current Step Grid, and the fol-
lowing pasted events will retain their time offset to this first event.
▪ If you paste the events via the Paste command from the context menu of the Event area’s
background:
◦ The first copied event is pasted at the closest step near the mouse cursor on the time
axis.
◦ In Group view the events copied from the topmost Sound in the Sound List are pasted
onto the focused Sound. In Keyboard view the events copied from the highest pitch
are pasted at the pitch of the row in which the mouse cursor is located.
◦ All copied events retain their position relative to each other, both on the time axis and
on the vertical axis (Sound List in Group view, pitches in Keyboard view).
◦ If some of the pasted events go beyond the Pattern’s end, the Pattern is extended to
the next Pattern Grid division after the last pasted event.
▪ If you paste the events via the shortcut on your computer keyboard while playback is on:
◦ If you haven’t changed the Sound focus, events are pasted one step after the original
events.
◦ If you have changed the Sound focus, events are pasted at the same timings as the
original events. In Group view the events copied from the topmost Sound in the Sound
List are pasted onto the focused Sound, and the other events will retain their vertical
position relative to these topmost events.
▪ If you paste the events via the shortcut on your computer keyboard while playback is off:
◦ If you haven’t changed the Sound focus or the playhead position, events are pasted
one step after the original events.

Editing Events
◦ If you haven’t changed the Sound focus but changed the playhead position, events are
inserted with the first event starting at the playhead position. All following events will
retain their position relative to the first event.
◦ If you have changed the Sound focus without changing the playhead position, events
are inserted at the same timings as the original events. In Group view the events cop-
ied from the topmost Sound in the Sound List are pasted onto the focused Sound, and
the other events will retain their vertical position relative to these topmost events.
◦ If you have changed both the Sound focus and the playhead position (e.g., by clicking
in the timeline above the Event area, see section ↑11.1.4, Jumping to Another Play-
back Position in the Pattern), events are inserted with the first event starting at the
playhead position. In Group view the events copied from the topmost Sound in the
Sound List are pasted onto the focused Sound, and all copied events retain their posi-
tion relative to each other, both on the time axis and on the vertical axis (Sound List
in Group view, pitches in Keyboard view).
Cut, Copy, and Paste Events/Notes on Your Controller

To copy and paste selected events from your controller:
1. To copy the selected events, press SHIFT + pad 11 (COPY).
2. If you want to cut the selected events before pasting them, press SHIFT + pad 9 (CLEAR)
to delete the original events.
3. To paste them, press SHIFT + pad 12 (PASTE).
→ The events will be pasted according to the same rules as when using the keyboard short-
cuts in the software (see above). If no event is selected, all displayed events will be af-
fected: in Keyboard view these are all events of the focused Sound; in Group view these
are all events of all Sounds within the Group (see section ↑11.1.5, Group View and Key-
board View for more information on Group view and Keyboard view).
You can also copy events from one Pattern to another: to do this, copy the selected events, select
the Pattern you want to copy them to and then paste them.

Editing Events
11.4.7 Quantizing Events/Notes

Quantization is the process of moving events to the closest steps. You can quantize your notes
at any time, no matter how you recorded them. They will be quantized according to the step
size (i.e. Step Grid resolution) selected. If you turn the Step Grid off, no quantization will be
applied. See section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid above for more in-
formation on the Step Grid and the step size.
There are two strengths of quantization:
▪ Full quantization: Moves each event directly onto the closest step of the current Step Grid.
This allows a perfectly regular rhythm.
▪ Half quantization (50%): Moves each event half way toward the closest step of the current
Step Grid. This allows a tighter rhythm while retaining a human feel.
In addition, if you record notes from a MIDI keyboard or using the pads, and create unwanted
double notes where you don’t want them; MASCHINE automatically detects and removes these
double notes while quantizing.
Quantizing Events via the Pattern Editor Context Menu

Quantize and Quantize 50% are available from the Pattern Editor context menu. This menu
provides the same functionality as pressing QUANTIZE and QUANTIZE 50% on the MA-
SCHINE hardware.

Editing Events
Quantize and Quantize 50% in the Pattern Editor context menu.

To apply full or half quantization using the MASCHINE software:
1. Select the events in the Pattern Editor you want to quantize. If nothing is selected, the
whole Pattern will be quantized.
2. To apply full quantization to the selected events, right-click the mouse and select Quan-
tize from the context menu.
3. To apply only a small amount of quantization to keep the groove you created after record-
ing your pattern, right-click the mouse and select Quantize 50% from the context menu.
4. To undo/redo Quantize use hotkeys: Ctrl+Z/Ctrl+Y (Cmd+Z/Cmd+Y on macOS).
Using Quantization on the Controller

You can quantize your notes at any time, no matter how you recorded them. They will be quan-
tized according to the step size (i.e. Step Grid resolution) selected. If you turn the Step Grid
off, no quantization will be applied. See section ↑11.1.7, Adjusting the Step Grid and the
Nudge Grid for more information on the Step Grid and the step size.
You can also choose to have notes automatically quantized as you record them on the pads! See
section ↑11.2.5, Quantizing while Recording for more information.

Editing Events
To apply full or half quantization:

1. Select the events you wish to quantize. If nothing is selected, the whole Pattern content
will be quantized. See ↑11.4.3, Selecting Events/Notes to know how to select events.
2. To apply full quantization to the selected events, press SHIFT + pad 5 (QUANTIZE).
3. To apply only a bit of quantization to keep the groove you created by playing your notes
live, press SHIFT + pad 6 (QUANTIZE 50%).
You can repeatedly apply QUANTIZE 50% until you are happy; you could for example apply it until
the notes are close enough to the Step Grid to sound tight, but loose enough to maintain their basic
“feel.” If it is too quantized for you, just press SHIFT + pad 1 to undo the last change.
11.4.8 Quantization While Playing

Input Quantization mode allows you to quantize events also as you play them on the pads.
The Input Quantization settings previously available have been renamed to include the new In-
put Quantization mode — now Input Quantization can be set to following modes in the Prefer-
ences:
▪ None: Input Quantization is disabled. Events you play or record on the pads are not quan-
tized.
▪ Record: Input Quantization is applied only when you record the pads.
▪ Play/Rec: Input Quantization is applied both when you play on the pads and when you re-
cord them.
In Play/Rec mode the quantization applied while playing is slightly different from the quantization
applied while recording: When recording, all events are quantized to the closest step — possibly
ahead of the event. When playing, on the other hand, events occurring in the first half of the steps
are left untouched (since you cannot bring them forward in the timeline!) whereas events occurring
in the second half of the steps are quantized to the next step.
Choosing an Input Quantization Mode

In the software the Input Quantization can be configured via the Quantize setting available in
the Input section at the bottom of the General page in the Preferences panel:

Editing Events
► Click the Quantize menu and select the desired Input Quantization mode from the three
modes available (see their description above).
Choosing an Input Quantization on Your Controller

On your controller the Input Quantization can be configured via the recording settings:
► Press SETTINGS to show the recording settings.
Turn Knob 5 (Quantize MODE) to select the desired Input Quantization mode from the three
modes available (see their description above).
11.4.9 Doubling a Pattern

Your controller provides a useful shortcut to double the length and content of the current Pat-
tern. In the software, you can do this for example by copying all events, putting the Playhead
indicator at the end of the Pattern, and pasting the events (the Pattern Length is automatically
doubled).
To double the length and content of a Pattern:
1. Hold PATTERN to enter Pattern mode.
2. Select the desired Pattern by pressing its pad.
3. Press Button 3 (DOUBLE).
→ The Pattern is doubled.
Keep in mind that doubling a Pattern twice results in a Pattern that is four times as long.
11.4.10 Adding Variation to Patterns

Variation provides an abundance of inspiration and even “happy accidents” when applied to
your workflow. The variation engine contains two modes:
▪ Humanize: This mode adds natural rhythmic fluctuations to programmed sequences.

Editing Events
▪ Random: This mode provides randomly generated patterns or variations of your beats and
melodies based on customizable values.
Variation is available in both Pad mode and Keyboard mode and can be applied to a Sound. In
Keyboard mode the Variation Random mode contains extra parameters that allow you to add
variety to melodic content.
When adding Variation to your Patterns, please be aware Random mode conforms to the selected
Scale.
To access Variation mode:

1. Select the Group (A–H) containing the Sound to which you want to apply the variation.
2. Press SELECT + Sound (1–16).
3. Press VARIATION to access the Variation controls.
Press Button 1 to pin the Variation page.
Element Description
HUMANIZE This mode provides natural rhythmic fluctuations to your
programmed sequences based on the values of the parameters of this
mode.
RANDOM This mode creates randomly generated versions of your beats and
melodies based on the values of the parameters of this mode.
APPLY Applies the current settings to the selected Sound.

Editing Events
Humanize Mode Parameters

Element Description
Apply Applies the current settings to the selected Sound.
VELOCITY RANGE
Velocity Lo Adjust notes with a velocity no lower than the set value.
Velocity Hi Adjust notes with a velocity no higher than the set value.
TIME SHIFT
Step Set the amount of time shift per step. The value is applied to all
notes and will move them randomly in both plus and minus values
according to the overall percentage set here.
Step can be changed from +/- 0-50% in 5% increments. Press
SHIFT to change in finer increments of 1%.

Editing Events
Random Mode Parameters

Element Description
PROBABILITY
(Keyboard mode)
Probability Set the probability of how often a note is created.
At 50% a note may or may not be created at each step.
At 100% a note will be created at every step of pattern.
Probability can be changed from 10-100% in 10% increments.
Press SHIFT to change in finer increments of 1%.
NOTE RANGE
(Keyboard mode)
Note Lo Create notes no lower than the set value.
Note Hi Create notes no higher than the set value.
VELOCITY RANGE
Velocity Lo Create notes with a velocity no lower than the set value.
Velocity Hi Create notes with a velocity no higher than the set value.
CHORDS
(Keyboard mode)
Note Count Set the amount of notes that are available to make up a chord per
step. This is also calculated in relation to Note Count set in the
DISTRIBUTIONS section. The Note Count range is from 1 to 6.
NOTE LENGTH
Steps Set the length of a note in steps.
The value ranges from 1 to 6 steps per note. Press SHIFT to change
in finer increments.
TIME SHIFT

Editing Events
Element Description
Step Set the amount of time shift per step. The value is applied to all
notes and will move them randomly in both plus and minus values
according to the overall percentage set here.
Time shift can be changed from +/- 0-50% in 5% increments. Press
SHIFT to change in finer increments of 1%.
DISTRIBUTIONS
Note Count Fixed: The note count is fixed. The value set in the Note Count of the
CHORDS section will take precedent here.
(Keyboard mode)
Equal: The note count will be evenly distributed across the NOTE
RANGE.
Gauss: The note count is likely to be distributed to the middle
section of the NOTE RANGE.
½ Gauss: The note count more is likely to be distributed to the
middle and lower section of the NOTE RANGE.
Notes Equal: Notes will be evenly distributed across the Pattern in
accordance with the Step Grid.
(Keyboard mode)
Gauss: Notes are more is likely to be distributed to the middle part of
the note range.
½ Gauss: Notes are more likely to be distributed to the middle and
lower part of the Pattern in accordance with the Step Grid.
Note Length Fixed: Notes will have the same length across the Pattern.
Equal: Note lengths will be evenly distributed across the Pattern.
Gauss: Note lengths in the middle part of the pattern are more likely
to be shorter.
½ Gauss: Note lengths in the middle to lower part of the pattern are
more likely to be shorter.

Recording and Editing Modulation
11.5 Recording and Editing Modulation

One of the really cool features of MASCHINE is the ability to modulate nearly all MASCHINE
parameters both on the controller and in the software in a very easy way.
In MASCHINE, modulation means the automatic change of MASCHINE parameters from an in-
ternal source (e.g., manual changes recorded via Auto-write…). Value changes are:
▪ Temporary: The modified value is valid only until the end of the Clip: When the Scene is
looped or when playback is restarted, the parameter value is reset to its non-modulated val-
ue.
▪ Relative (knobs only): For continuous parameters (these parameters are controlled by a ro-
tary knob in the software), the new parameter value is defined as deviation from the actual
value. Note that for selectors and buttons, modulation defines instead absolute values.
Modulation vs. Automation

Although both deal with automatic change of MASCHINE parameters, modulation and automa-
tion have to be distinguished. The following table summarizes the main differences:
Modulation Automation
Source of control Internal (e.g., changes External (e.g., an external
recorded via Auto-write) MIDI sequencer or an
automation track in your host)
Duration of the change Temporary (until the end of Permanent
the Clip)
Target parameters At the Sound and Group At all levels (Sound, Group,
levels only (see below) and Master)
Nature of the change Relative (defines a deviation Absolute (defines a new value
(continuous parameters only) to the non-modulated value) regardless of the non-
automated value)
This section describes how to use modulation in MASCHINE — for more information on using auto-
mation, please refer to section ↑12.2.3, Controlling Parameters via MIDI and Host Automation.

Please note that modulation and automation are not mutually exclusive: You can modulate a
parameter in MASCHINE and automate it (e.g., from your host) simultaneously! As a result,
the parameter value will deviate (according to the recorded modulation) from its moving value
defined by the automation.
Example: Let’s assume that you have recorded some modulation for the Cutoff parameter of a Filter
Plug-in in order to create a filter sweep. Since modulation is defined relative to the non-modulated
value, by manually adjusting the Cutoff parameter you can shift the entire sweep across frequen-
cies. By assigning this Cutoff parameter to a MIDI control or an automation ID (see section
↑12.2.3, Controlling Parameters via MIDI and Host Automation to know how to do this) you can cre-
ate a filter sweep that automatically moves across frequencies!
11.5.1 Which Parameters Are Modulatable?

All the modulatable parameters are found in Plug-ins or Channel properties (e.g., you cannot
modulate the Pattern Length or the Step Grid resolution). This means that all modulatable pa-
rameters are found in a Parameter page of the Control area (when the software is in Arrange
view).
In order to be modulatable, parameters of Plug-ins and Channel properties have to meet fol-
lowing requirements:
▪ The parameter must be controlled by a knob or a button in the software. Most parameters
controlled by selectors (e.g., for selecting an operating mode or a filter type) cannot be
modulated — however there are a few exceptions.
▪ The parameter must be at the Group or Sound level. Parameters at the Master level cannot
be modulated.
This second rule is also true for Plug-ins: if a Plug-in is loaded at the Master level, its parameters
will not be modulatable — but the same Plug-in loaded at the Group or Sound level will have its
parameters modulatable.
Almost all parameters meeting these requirements can be modulated, the only exceptions be-
ing:
▪ Plug-ins:

◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button
(EQ section).
◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page.
▪ Channel properties:
◦ Sound’s and Group’s Output properties: the Cue button in the Audio page.
◦ Group’s Input properties: the Root Note knob in the MIDI page.
At the Sound and Group level the same parameters are both automatable and modulatable. For
more information on automation please refer to section ↑12.2.3, Controlling Parameters via MIDI
and Host Automation.
Also note that your Macro Controls will be modulatable if, and only if, their target parameters
are themselves modulatable. For more information on Macro Controls please refer to section
↑12.3, Creating Custom Sets of Parameters with the Macro Controls.
11.5.2 Recording Modulation

If you take a closer look at the knobs in the software Parameter pages of the Control area you
will notice they have an outer ring that changes its color to light grey as soon as you hover over
it with the cursor.
Drag the outer ring of the knobs to record modulation.
► To record modulation for a knob in real time, click its outer ring and then drag it up and
down during playback.
→ Your movement are recorded into the Pattern and will be recalled as the playback is loop-
ed.
As soon as you create modulation for a parameter, the following happens:

▪ On the outer ring of the knob, the colored section (usually indicating the current parameter
value) is replaced by a little segment indicating the modulated value. During playback this
little segment follows the movement you have just recorded. The non-modulated value of
the parameter is still indicated by the little white segment on the knob itself. Since modu-
lation is defined relative to this non-modulated value, you can turn the knob to define the
reference value from which the recorded modulation will deviate.
▪ A modulation track is created for this parameter in the Modulation pane of the Control area
(at the bottom of the Pattern Editor) containing the modulation points you have just record-
ed. You can further edit the modulation track from there — see section ↑11.5.3, Creating
and Editing Modulation in the Control Lane.
Removing Modulation
You can also use the outer ring to remove the entire modulation for the knob:
► To remove the entire modulation for a knob, simply right-click (on macOS: [Ctrl]+click) its
outer ring.
You can also create and edit modulation tracks directly in the Control Lane. See section ↑11.2.2,
The Record Prepare Mode for more information.
To modulate a parameter with the controller:

1. First make sure the song is playing (PLAY must be lit) and your controller is in Control
mode (CHANNEL or PLUG-IN must be lit, if it’s not please press either of them).
2. Navigate to the parameter you want to modulate. To do this, put the focus on the desired
Group or Sound (see ↑3.3.7, Focusing on a Group or a Sound), navigate to the desired
Plug-in or set of Channel properties, and finally to the Parameter page containing that pa-
rameter (see ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the
Control Area).
3. Hold AUTO to enter Auto-write mode.
At the bottom of the displays, non-modulatable parameters disappear. Among the remain-
ing parameters (all modulatable), the value of each continuous parameter is replaced by a
percentage.
4. While holding AUTO, turn the desired Knob 1–8 under the displays to adjust the deviation
to the actual value as you see fit.

→ Your modulation gets recorded now. Each Knob movement is stored in your Pattern as a
modulation event. It will be automatically played with your Pattern upon its next cycle.
If you want to discard the modulation you recorded and try again:
► Hold ERASE and again turn the Knob you used to record modulation to delete all modula-
tion events for this parameter.
You can also delete all modulation events for all parameters of the channel:
► Press SHIFT + Pad 10 (Clear Auto) to delete all modulation for all parameters of the fo-
cused Sound or Group.
You can also record modulation from the step sequencer! See ↑11.3.3, Recording Modulation in
Step Mode for more information.
11.5.3 Creating and Editing Modulation in the Control Lane

You can also create, select, and edit individual modulation points in the Modulation pane of the
Control Lane.
Displaying the Modulation Pane in the Control Lane

1. To see and edit modulation for parameters of a Sound, click the desired Sound in the
Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area.
2. To see and edit modulation for parameters of a Group, click the desired Group in the
Group List (left of the Arranger) and click the GROUP tab in the Control area.
3. If the Control Lane is not visible at the bottom of the Pattern Editor, click the up-pointing
arrow in the bottom left corner of the Pattern Editor to show it.

4. Click the little bar icon left of the Control Lane to display the Modulation pane.
→ The Modulation pane appears.
The Modulation pane showing the modulation track for the Decay parameter (see on the left).
The Modulation pane contains following elements:

▪ The left part shows the Modulator List showing all parameters currently modulated in the
focused Sound or Group. Click any entry to display the modulation track for that parameter
on the right. Click the “+” symbol at the end of the list to add a modulation track for an-
other parameter (see below). If the list is too small to display all entries at once, a vertical
scroll bar appears on the right to navigate the list.
▪ The right and biggest part shows the modulation track for the particular parameter selected
in the Modulator List on the left:
◦ Each modulation track contains a variable number of modulation points, each of them
defining a new value for the parameter.
◦ The zoom factor and scroll position of the modulation track is always synchronized to
those of the Event area above.
◦ Left of the modulation track, a vertical scale indicates the value range for that param-
eter. In the modulation track you can create, edit, and delete modulation points (see
below).

The range of the vertical value scale left of the modulation track depends on the current, non-modu-
lated value of the selected parameter: Since modulation points set new values relative to the non-
modulated value of the parameter, this scale allows you to see at any time the real values that will
be set by the various modulation points in the track.
You can adjust the height of the Control Lane by dragging its upper border with the mouse.
As soon as some modulation is recorded for a parameter in a particular Pattern of the Group,
the corresponding Modulator and modulation track appear for all Patterns of the Group. The
track will be empty for Patterns in which you haven’t recorded any modulation for this parame-
ter yet. Similarly, if you delete this Modulator in the Modulator List and its modulation track
(see below to know how) in a Pattern, it will be deleted in all other Patterns of the Group as well.
Editing Modulation Points

You can create, edit, and delete modulation points in the displayed modulation track with your
mouse. As for the Event area above, the mouse behavior in the Control Lane will depend on the
Mouse Edit mode selected in the Edit Mode selector, at the bottom left of the Pattern Editor:
1 2 3
The Edit Mode selector.
All actions in the Control Lane are quantized according to the Step Grid. For more information
on the Step Grid, please refer to section ↑11.1.7, Adjusting the Step Grid and the Nudge Grid.

Mouse Edit Mode Available Mouse Actions

(1) Select mode To create modulation points, double-click in the Control Lane — other
points on this step will be replaced.
To delete a modulation point, right-click it ([Ctrl]-click it on macOS).
To edit an existing modulation point, drag it vertically (you can also drag
the horizontal segment following the point instead). When hovering the
mouse over a modulation point or the following segment, the parameter
value at this point appears. The displayed value is updated as you drag
your mouse vertically.
You can select several modulation points in the Control Lane together
by clicking and dragging a rectangle around them; now you can edit
them together by dragging them up or down — they will keep their
relative offsets until any of them reaches the minimum or maximum
value.
(2) Paint mode Click and drag to set modulation points wherever you move the cursor.
(3) Erase mode Click and drag to delete modulation points wherever you move the
cursor.
Adding a Modulation Track

As soon as you record modulation for a new parameter in the software or from your controller, a
new modulation track is automatically created and contains your recorded movements in form
of modulation points. But you can also create a new modulation track from scratch in the Con-
trol Lane. Here is how.
At the end of the Modulator List (in the left part of the Control Lane) you can use the “+” sym-
bol to create a new modulation track.
Click the “+” symbol to add a new modulation track.

To create a new modulation track:

1. To create a new modulation track for a parameter of a Sound, click the desired Sound in
the Sound List (left of the Pattern Editor) and click the SOUND tab in the Control area.
2. To create a new modulation track for a parameter of a Group, click the desired Group in
the Group List (left of the Arranger) and click the GROUP tab in the Control area.
3. In the Modulation pane click the “+” symbol at the end of the Modulator List to create a
new empty modulation track.
A new Modulator X entry appears at the end of the list (X is an ordering number) and it is
automatically selected. The corresponding modulation track is still empty. Moreover you
cannot create any modulation point in the track yet, you first need to assign it to a param-
eter of your choice.
4. Right-click ([Ctrl]-click on macOS) the Modulator X label to open a structured menu con-
taining all modulatable parameters in that channel.
5. Navigate the structure of the menu down to the desired parameter: For a parameter locat-
ed in Channel properties select Sound > [set of Channel properties] > [Parameter page] >
[parameter]. For a parameter located in a Plug-in select [Plug-in name] > [Parameter
page] > [parameter].
Once you have selected a parameter in the menu the parameter name appears in place of
Modulator X in the Modulator List and the modulation track on the right is editable.
→ In the modulation track you can now add and edit modulation points for the selected pa-
rameter as described above. The modulation track is added to all Patterns of the Group
and you can directly create different modulation points in other Patterns for that track.

Creating MIDI Tracks from Scratch in MASCHINE
When you load a Plug-in in a channel (Sound or Group) its modulatable parameters will automati-
cally show up in the menu of available parameters when this channel is focused.
Resetting a Modulation Track

► To reset the modulation track of a parameter, right-click ([Ctrl]-click on macOS) the de-
sired entry in the Modulator List and select Reset Modulator at the top of the menu.
→ All modulation points are deleted in all Patterns of the Group and you can start designing
a new modulation for that parameter from scratch.
Re-Assigning a Modulation Track

► To change the parameter assignment of a modulation track, right-click ([Ctrl]-click on ma-
cOS) the desired entry in the Modulator List and select another parameter from the hier-
archical menu as described above.
→ Upon your selection all modulation points are deleted and the track is assigned to the new
parameter. The previous parameter is not modulated anymore.
Removing a Modulation Track

► To remove a modulation track, hover its entry in the Modulator List with the mouse and
click the little cross that appears on its right.
→ The modulation track and its entry in the Modulator List are removed from the Modulation
pane for all Patterns. The parameter is not modulated anymore.
11.6 Creating MIDI Tracks from Scratch in MASCHINE

Within MASCHINE you can create MIDI tracks from scratch for any Sound of your Project. MA-
SCHINE’s MIDI automation tracks can have two purposes:

Creating MIDI Tracks from Scratch in MASCHINE
▪ When playback is on, the content of these tracks is sent in real time as MIDI data via the
MIDI output of the Sound (if enabled). Configuring the MIDI output of Sounds is done in
the MIDI page of the Sound’s Output properties — see section ↑12.2.5, Sending MIDI
from Sounds for more information.
▪ When exporting your Pattern as a MIDI file for use in another environment, MIDI automa-
tion tracks will be included in the exported MIDI file. See section ↑11.8.2, Exporting MIDI
from Patterns for more information.
You cannot create MIDI tracks for Groups nor for the Master.
Creating and editing MIDI tracks is done in the MIDI pane of the Control Lane:
Create MIDI tracks in the MIDI pane of the Control Lane.
1. Click the desired Sound in the Sound List on the left of the Pattern Editor.
2. If the Control Lane is not visible at the bottom of the Pattern Editor, click the up-pointing
arrow in the bottom left corner of the Pattern Editor to show it.
3. Click the MIDI socket icon left of the Control Lane to display the MIDI pane.

Managing Patterns
4. At the end of the list of MIDI controls nearby, click the “+” to add a new MIDI track.
A new entry appears at the end of the list reading Not assigned.
5. Right-click ([Ctrl]-click on macOS) this Not assigned entry and select the desired MIDI
control from the context menu.
6. Add and modify events in the new MIDI track via same editing tools as for modulation
tracks (see ↑11.5.3, Creating and Editing Modulation in the Control Lane).
→ You have just created a new MIDI track!
You will notice that one MIDI track is always present in the MIDI pane: the Velocity track. This track
holds the velocities for all the events for the focused Sound in the Pattern. You cannot delete the
Velocity track.
Removing a MIDI Track

► To remove a MIDI track, hover its entry in the list of MIDI controls on the left with the
mouse and click the little cross that appears on its right.
→ The MIDI track and its entry in the list of MIDI controls are removed from the MIDI pane.
11.7 Managing Patterns

This section describes how to organize your Patterns, Pattern slots, and Pattern banks.

Managing Patterns
11.7.1 The Pattern Manager and Pattern Mode

In the software, all Pattern management operations are done in the Pattern Manager:
► To open the Pattern Manager, click the Pattern Manager button (a down-pointing arrow) at
the left of the name of the selected Pattern.
→ The Pattern Manager appears underneath.
Use the Pattern Manager to manage your Patterns.

Managing Patterns
▪ On the left you can see the list of the 16 Pattern slots in the selected Pattern bank. Slots
containing a Pattern show a colored bar on the left along with the Pattern name. The other
slots contain no Pattern. The selected Pattern is highlighted (the Basics - Return Pattern in
the picture above).
▪ On the right you can see the various Pattern banks in form of pad grids — a pad grid is a
square of 4x4 cells representing the pads of your controller. In each Pattern bank the col-
ored cells indicate Pattern slots containing a Pattern, while unlit cells indicate empty Pat-
tern slots. The selected Pattern bank is surrounded by a white border (the first bank in the
picture above). If there are too many Pattern banks to fit into the Pattern Manager’s height,
use the scroll wheel of your mouse to display the other banks.
▪ The Pattern slots on the left and the cells in the selected pad grid on the right are strictly
equivalent: you can use either the slots or the corresponding cells to execute all the man-
agement commands described in the next sections.
Closing the Pattern Manager

► To close the Pattern Manager, click anywhere outside it.
Pattern Mode on Your Controller

Pattern mode is where you select and manage your Patterns.
► To enter Pattern mode on your controller, press and hold PATTERN (you can pin it by
pressing Button 1 at the same time).
→ Your controller switches to Pattern mode. This is indicated by the lit PATTERN button.
The hardware displays in Pattern mode.

Managing Patterns
On the right display, you will see all available Pattern slots in the selected Pattern bank repre-
sented as a square of 4x4 cells:
▪ The highlighted cell indicates the selected Pattern slot.
▪ Cells showing a name represent Pattern slots containing a Pattern.
▪ Empty cells represent empty Pattern slots.
This grid of cells corresponds to the pads on your controller:
▪ The fully lit pad indicates the selected Pattern slot.
▪ Dim lit pads indicate Pattern slots containing a Pattern.
▪ Unlit pads represent empty Pattern slots.
11.7.2 Selecting Patterns and Pattern Banks

In the topmost row of the Pattern Editor, you can see on the left the name of the Pattern se-
lected:
The selected Pattern is named Basics.
Selecting a Pattern:
1. Open the Pattern Manager (see ↑11.7.1, The Pattern Manager and Pattern Mode).

Managing Patterns
2. If it is not already selected, select the Pattern bank containing the desired Pattern by
clicking its pad grid on the right.
The selected Pattern bank is surrounded by a white border, and the left part of the Pat-
tern Manager displays the Pattern slots in that bank.
3. Select the desired Pattern by clicking its name in the list on the left or by clicking its cell
in the selected pad grid on the right.
→ The selected Pattern is loaded in the Pattern Editor and its events appear in the Event
area. Furthermore, this Pattern is referenced by a Clip for the selected Group in the cur-
rent Scene in the Arranger. This Clip replaces any previous Clip for the Group in that
Scene (see chapter ↑16.3, Using Song View for more on this).
Selecting Patterns and Pattern Banks on the Controller

To select a Pattern located in another Pattern bank than the one selected, you first need to
select that other Pattern bank:
► Press PATTERN + Button 7 or 8 to select the previous or next Pattern bank.
If the last Pattern bank is selected and not empty, pressing Button 8 will create a new, empty Pat-
tern bank — see section ↑11.7.5, Creating and Deleting Pattern Banks for more information.

Managing Patterns
Selecting a Pattern
► To select a Pattern in the current Pattern bank, press PATTERN + the dim lit pad corre-
sponding to the cell of the desired Pattern on the right display.
→ Selecting a Pattern has the following consequences:

▪ This Pattern is displayed in the software’s Pattern Editor. You can then modify it both from
your controller and in the software.
▪ This Pattern is referenced by a Clip for the selected Group in the current Scene. This Clip
replaces any previous Clip for the Group in that Scene (see chapter ↑16.3, Using Song
View for more on this).
Selecting Patterns and Pattern Banks on the Controller
Selecting a Pattern Bank

To select a Pattern located in another Pattern bank, you first need to select another Pattern
bank:
1. Press and hold PATTERN to enter Pattern mode.
2. Press the Right Arrow button to select Bank.
3. Turn the Encoder to select a Pattern bank.
Selecting a Pattern
► To select a Pattern in the current Pattern bank, press PATTERN + the dim lit pad corre-
sponding to this Pattern.
→ When a Pattern is selected:

▪ This Pattern is displayed in the software’s Pattern Editor. You can then modify it both from
your controller and in the software.
▪ This Pattern is referenced for the selected Group in the current Scene. This Pattern repla-
ces any previous Pattern selected for the Group in that Scene (see chapter ↑16.3, Using
Song View for more on this).

Managing Patterns
11.7.3 Creating Patterns

First of all, you don’t need to explicitly create a new empty Pattern before filling it with events:
▪ If no Pattern is selected, as soon as you create an event (in the empty Event area of the
software or by recording pads on your controller) a new Pattern will be created for it! See
section ↑11.4.2, Creating Events/Notes for more information on creating events.
▪ If you double-click in a cell of the Arranger, a Clip is created referencing a new empty Pat-
tern for the corresponding Group at that location in your arrangement (see section ↑16.2.3,
Assigning and Removing Patterns).
You can still manually create a new empty Pattern in the software:
2. If it is not already selected, click the desired pad grid on the right to select the Pattern
bank where you want to create a Pattern.
The selected Pattern bank is surrounded by a white border, and the left part of the Pat-
tern Manager displays the Pattern slots in that bank.
3. Click any empty Pattern slot in the list on the left or click any dark cell in the selected
pad grid on the right to create a new empty Pattern there.

Managing Patterns
→ A new empty Pattern is created in the selected Pattern slot. The new Pattern is loaded in
the Pattern Editor with an empty Event area. Furthermore, this Pattern is referenced by a
Clip for the selected Group in the current Scene in the Arranger. This Clip replaces any
previous Clip for the Group in that Scene (see chapter ↑16.3, Using Song View for more
on this).
11.7.3.1 Creating a New Pattern on Your Controller

► To create a new empty Pattern in the current Pattern bank, press PATTERN + any unlit
pad.
→ A new empty Pattern is created at this position in the current Pattern bank. Additionally:
▪ The new Pattern is selected and displayed in the software’s Pattern Editor. You can then
modify it both from your controller and in the software.
▪ The new Pattern is referenced by a Clip for the selected Group in the current Scene. This
Clip replaces any previous Clip for the Group in that Scene (see chapter ↑16.3, Using Song
View for more on this).
You don’t need to explicitly create a new empty Pattern before filling it with events: If no Pattern is
selected, as soon as you record events a new Pattern will be created for them! See section ↑11.4.2,
Creating Events/Notes for more information on creating events.
11.7.3.2 Inserting a New Pattern after the Current Pattern on Your Controller
You can also insert a new Pattern right after a particular Pattern:
2. Press Button 7 and 8 to select the desired Pattern bank.
3. Press the pad corresponding to the Pattern after which you want to insert a new Pattern.
4. Press Button 5 (CREATE).
→ A new empty Pattern is inserted right after the selected Pattern. All following Patterns are
shifted to the next slot.

Managing Patterns
11.7.4 Deleting Patterns

To delete a Pattern:
2. If necessary, select the Pattern bank containing the desired Pattern by clicking its pad
grid on the right.
The selected Pattern bank is surrounded by a white border and its Patterns appear in the
list on the left.
3. On the right of the Pattern slot, click the little cross icon:
You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell
in the pad grid and select Delete from the context menu:
→ The Pattern is deleted.
If the Pattern was referenced by Clips in the Arranger, these Clips will be removed as well!
Deleting Patterns on the Controller

To delete a Pattern on your controller:

Managing Patterns

3. Press the pad corresponding to the Pattern you want to delete.
4. Press Button 6 (DELETE).
Alternate Method
3. Press ERASE + the pad corresponding to the Pattern you want to delete.
If the desired Pattern bank is already selected (or if there is only one Pattern bank), this alternate
method can be simplified as follows: Press ERASE + PATTERN + pad to delete the corresponding
Pattern.
If a Pattern referenced in the Arranger is deleted, then it is also removed from the arrangement.
11.7.5 Creating and Deleting Pattern Banks

You can create and delete Pattern banks in order to organize your Patterns to your liking.
Creating a Pattern Bank

If the last Pattern bank contains at least one Pattern (even empty), you can create an addition-
al Pattern bank after that last bank. To do this:

Managing Patterns
2. Click the “+” symbol under the last pad grid on the right to create another Pattern bank.
→ A new empty Pattern bank is created and its pad grid appears in place of the “+” symbol.
If the last Pattern bank is empty, there is no “+” symbol under its pad grid and you cannot create
any new Pattern bank.
Deleting a Pattern Bank

To delete a Pattern bank:
2. Hover the pad grid of the desired Pattern bank with your mouse.
A little cross appears at the top right of the pad grid.
3. Click the little cross to delete that Pattern bank.
→ The Pattern bank is deleted including all its Patterns, if any. The following banks are
shifted up to fill the gap.

Managing Patterns
If the Patterns of the deleted Pattern bank were referenced by Clips in the Arranger, these Clips will
be removed as well!
11.7.6 Naming Patterns

You can replace the Patterns’ default names with custom names of your own. This can be done
in the Pattern Editor, in the Pattern Manager or in the Arranger.
Renaming Patterns in the Pattern Editor

To rename the selected Pattern in the Pattern Editor:
1. Double-click the Pattern name at the top left of the Pattern Editor:
2. Type a name and press [Enter] on your computer keyboard to confirm (or press [Esc] to
cancel you change).
→ The Pattern is renamed. In the Arranger, all Clips referencing this Pattern in the Arranger
will mirror the new Pattern name.
Renaming Patterns in the Pattern Manager

To rename any Pattern even if it is not selected:
grid on the right.
list on the left.

Managing Patterns
3. On the right of the Pattern slot, click the little pen icon:
You can also right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell
in the pad grid and select Rename from the context menu:
The Pattern name gets highlighted and editable.

cancel you change).
→ The Pattern is renamed. In the Arranger, all Clips referencing this Pattern will mirror the
new Pattern name.
Renaming Patterns in the Arranger

You can also rename a Pattern in the Arranger via any Clip referencing this Pattern:

Managing Patterns
1. Double-click any Clip referencing the Pattern you want to name.

The Clip turns to a text field and waits for your input.
2. Type a name and press [Enter] on your computer keyboard to confirm.
→ The Pattern is renamed. All Clips referencing this Pattern will mirror the new Pattern
name.
11.7.7 Changing the Pattern’s Color

By default, Patterns take the color of the Group they belong to. But you can adapt the color of
each individual Pattern to your needs. To do this:
grid on the right.
list on the left.

Managing Patterns
3. Right-click ([Ctrl]-click on macOS) the desired Pattern slot or the corresponding cell in
the pad grid and select Color from the context menu.
A Color Palette appears. In the Palette, the current color of the Pattern is highlighted.
4. Select the desired color in the Palette. You can also choose to set the Pattern back to its
default color by selecting Default at the bottom of the Color Palette.
→ The Pattern slot takes the new color you select. In the Arranger all Clips referencing this
Pattern will also mirror the selected color.
By default Patterns inherit the color of their Group.
11.7.8 Duplicating, Copying, and Pasting Patterns

MASCHINE provides different ways of copying/pasting Patterns.
Duplicating a Pattern
To duplicate a Pattern:

Managing Patterns
grid on the right.
list on the left.
3. Right-click ([Ctrl]-click on macOS) the Pattern slot or the corresponding cell in the pad
grid and select Duplicate from the context menu:
→ A Pattern copy is inserted right after the original Pattern in the Pattern bank — all follow-
ing Patterns are shifted to the next slot.
Copying and Pasting a Pattern

To cut or copy the content of a Pattern and paste it in another Pattern, do the following:
1. Click the Event area’s background to deselect any selected events (your mouse must be in
Select mode).

Managing Patterns
2. Right-click (on macOS: [Ctrl]+click) the Event area’s background and choose Copy from
the slot’s context menu:
3. Select the Group in which you want to paste the Pattern’s content.
4. Open the Pattern Manager, select (or create) an empty Pattern, and close the Pattern
Manager again.
The selected (or created) Pattern appears in the Pattern Editor.
5. Right-click (on macOS: [Ctrl]-click) the Event area’s background and choose Paste from
the context menu to paste the Pattern.
If events are selected in the Pattern, the copy/paste operation will apply to these events only! See
↑11.7.1, The Pattern Manager and Pattern Mode for more on this.
Duplicating, Copying, and Pasting Patterns on Your Controller

While the duplicating method described above is the quickest one, you can also copy a Pattern
to the Pattern slot of your choice via the DUPLICATE button of your controller:
1. Press and hold PATTERN to enter Pattern mode (you can pin it by pressing Button 1).
2. Press and hold DUPLICATE (you can also pin it by pressing Button 1).
3. Press the pad of the Pattern you want to copy.
The pad starts flashing.
4. Press the target pad for the Pattern copy.

Managing Patterns
→ The Pattern is copied to the target pad. The target pad starts flashing and you can further
copy/paste it to other slots!
This procedure has following benefits:
▪ You can paste the copy into the Pattern slot of your choice — empty or not. If the target
Pattern slot already contains a Pattern, it will be replaced by the copied Pattern.
▪ You can select the target slot in another Pattern bank: After you have selected the source
Pattern, switch to the desired Pattern bank using Buttons 7 and 8 before you select the
target Pattern slot.
▪ Last but not least, this command is also available outside the Pattern mode: Simply press
and hold DUPLICATE + PATTERN (instead of DUPLICATE alone in Pattern mode) before
selecting the source and target slots!
Please note that the copy-paste described here affects the Pattern as a whole. You can also copy-
paste particular events within the Pattern or between Patterns. See ↑11.4.4, Editing Selected
Events/Notes for more on this.
11.7.9 Moving Patterns

You can reorder Patterns via drag and drop in the software. It can be helpful to organize your
Patterns more conveniently (e.g., to bring together variations of the same rhythm).
To move Patterns:
grid on the right.
list on the left.
3. Click and hold the Pattern slot or the corresponding cell in the pad grid.

Managing Patterns
4. While holding the mouse button, drag your mouse toward the desired location.
As the mouse cursor moves, the potential target slots are highlighted or an insertion line
appears at the potential places between slots where you can drop the Pattern slot.
5. When the desired slot is highlighted or when the insertion line appears at the desired lo-
cation, release the mouse button.
→ The Pattern takes its new place. If you drop the Pattern onto a slot, the current Pattern in
that slot is replaced (if any). The Clips that were referencing this Pattern will reference
the moved Pattern instead.
Of course, all Clips referencing the moved Patterns still reference it after the move.
You can also drag a Pattern from the pad grid onto the Pad List, and inversely!
11.7.10 Adjusting Pattern Length in Fine Increments

Patten Length can be adjusted in fine increments to create irregular pattern lengths by tempo-
rarily pressing the [Shift] button on your computer keyboard or SHIFT on the MASCHINE con-
troller while adjusting the Pattern Length. The size of fine increments are defined using the
Step Grid.
1. Press SHIFT + FOLLOW (GRID) and then Button 4 to access STEP.
2. Use Buttons 5 to 8 or press the relevant pad to select the required Step Grid size.
3. Press PATTERN to access the pattern page, and pin it if required by pressing Button 1.
4. Press the corresponding pad to select the pattern you want to edit.
5. Press SHIFT and turn Knob 4 LENGTH to adjust Pattern Length in fine increments.

Importing/Exporting Audio and MIDI to/from Patterns
→ The Pattern Length can now be adjusted in finer increments according to the value of the
Step Grid.
11.8 Importing/Exporting Audio and MIDI to/from Patterns

In the Pattern Editor you can quickly export MIDI and audio from Patterns and import MIDI to
Patterns via drag and drop.
11.8.1 Exporting Audio from Patterns

The Audio drag-and-drop function allows you to export audio from the selected Pattern onto
your desktop or into your host software by simply dragging it onto the target location or appli-
cation. This function is only available in the software.
The audio will be exported as a WAV audio file and according to the current settings of the
Export Audio panel (see section ↑5.4.3, Exporting Audio for more information on these set-
tings) with following exceptions:
▪ The exported range will be based on the selected Pattern, regardless of the current Loop
Range. Note that the Loop Optimize setting will be respected.
▪ The exported audio will only include the focused Group (in Group view) or the focused
Sound (in Keyboard view) — in other words it will include what you see in the Event area.
▪ The audio file will be named as follows:
◦ Export in Group view: [Group name] - [Pattern name] - [BPM].wav
◦ Export in Keyboard view: [Group name] - [Pattern name] [Sound name] - [BPM].wav
To render Patterns to audio files:
1. Select the Pattern you want to export audio from (see section ↑11.7.2, Selecting Patterns
and Pattern Banks).
2. If you want to export multiple Sounds of the Group, switch the Pattern Editor to Group
view, mute the Sounds you want to exclude from the exported audio file (see section
↑6.3.1, Mute and Solo), and check that the Group itself is not muted — otherwise the
exported audio file will be silent!

3. If you want to export a single Sound in the Group, you can switch the Pattern Editor to
Keyboard view, put the focus on the desired Sound, and check that this Sound is not
muted (see section ↑6.3.1, Mute and Solo) — otherwise the exported audio file will be
silent! Alternatively you can let the Pattern Editor in Group view and solo this Sound.
4. In the top right corner of the Pattern Editor, click and hold the Audio Dragger icon:
5. While holding the mouse button, drag the icon to start the export.
A pop-up message will inform you about the rendering status:
As soon as rendering is finished, the mouse cursor displays the name of the Pattern you
are dragging.
→ You can now drag the exported audio file to your desktop, into an audio channel of your
host application, or even to another Sound or Group in MASCHINE!
If you drop the audio file onto a Group, it will be loaded into the first empty Sound slot of this
Group.
11.8.2 Exporting MIDI from Patterns

You can export MIDI files from selected Patterns. This is useful if you want to use or edit them
in another application. This function is only available in the software.
The MIDI file will be exported according to the Channel and Transpose parameters in the MIDI
page of the Output properties of each exported Sound — see section ↑12.2.5, Sending MIDI
from Sounds for more on these parameters.

You can export MIDI files using two methods: via drag-and-drop or via the Group/Sound con-
text menu.
Exporting MIDI via Drag-and-Drop

You can render the selected Pattern to a MIDI file by simply dragging it onto the target location
on your operating system or directly into a MIDI channel of your host software:
1. Select the Pattern you want to export MIDI from (see section ↑11.7.2, Selecting Patterns
and Pattern Banks).
2. If you want to export MIDI from the entire Group, switch the Pattern Editor to Group view.
If you want instead to export MIDI from the focused Sound only, switch the Pattern Editor
to Keyboard view. See section ↑11.1.5, Group View and Keyboard View to know how to do
this.
3. In the top right corner of the Pattern Editor, click and hold the MIDI Dragger icon:
As you start dragging the icon the mouse cursor displays the name of the Pattern you are
about to export:
4. Drag the icon to your desktop or onto a MIDI channel of your host application.
→ The MIDI file is exported to the selected location.
You can even drag the MIDI Dragger icon onto another Sound or Group in MASCHINE! In this case
the MIDI file will be directly imported into a Pattern of the selected Group according to the rules
described in section ↑11.8.3, Importing MIDI to Patterns.
Exporting MIDI via the Context Menu

You can also render the selected Pattern to a MIDI file on your hard disk using the Export
MIDI… entry in the context menu of the Sound or Group:

1. Select the Pattern you want to export MIDI from (see section ↑11.7.2, Selecting Patterns
and Pattern Banks).
2. To export MIDI from the entire Group, switch the Pattern Editor to Group view and right-
click ([Ctrl]-click on macOS) the desired Group in the Group List (left of the Arranger) to
open its context menu. You can also right-click ([Ctrl]-click on macOS) the Group name
above the Sound List.
To export MIDI from a particular Sound only, right-click ([Ctrl]-click on macOS) the de-
sired Sound slot in the Sound List (left of the Pattern Editor) to open its context menu.
3. Select Export MIDI… in the context menu (the picture below shows the context menu for
a Sound).
4. In the Export MIDI dialog that opens, navigate to the desired location on your computer,
type a name for the MIDI file and click Save to confirm.
→ The MIDI file is exported to the selected location.

Sounds which do not contain note events in a Group Pattern are exported as empty MIDI
tracks. This way, if you are exporting multiple Patterns and some Sounds in the Group only
have notes in some of these Patterns, you will get a consistent assignment of notes to MIDI
tracks across all exported Patterns. Also, when you export a Pattern and then re-import it into
MASCHINE, the notes will always be mapped to the correct Sounds.

11.8.3 Importing MIDI to Patterns

You can import MIDI files (extension “.mid”) to Patterns. This allows you to use in MASCHINE
MIDI files prepared with another application. This function is only available in the software.
Importing MIDI data into a Pattern that already contains data (note, modulation tracks, and MIDI
tracks) will replace that data. As always, this can be undone both in the software or from your con-
troller (see section ↑3.3.4, Undo/Redo).
You can import MIDI files into Groups or into individual Sounds. You can do this via three
methods: via the context menu of the Group/Sound, via drag-and-drop, or via the FILES pane
of the Browser. You can even import multiple MIDI files at once. The following paragraphs de-
scribe each of these situations.
Importing a MIDI File to a Group

You can import a MIDI file to a whole Group. In particular, this allows you to import a drum
beat for an entire drum kit. You can do this via the Group’s context menu or via drag-and-drop.
Method 1: via the Group’s context menu
1. In the Group List (left of the Arranger), click the Group in which you want to import the
MIDI file.
This sets the focus to that Group and displays its Patterns in the Pattern Editor under-
neath.
2. Select the Pattern in which you want to import the MIDI file.

3. Right-click ([Ctrl]-click on macOS) the Group in the Group List and select Import MIDI…
from the context menu.
You can alternatively right-click ([Ctrl]-click on macOS) the Group name in the header
above the Sound List and select the same entry.
4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer
and click Open to confirm.
→ The MIDI file will be imported to the selected Pattern of the Group according to the im-
port rules described below.
Method 2: via drag and drop
1. In the Group List (left of the Arranger), click the Group in which you want to import the
MIDI file.
This sets the focus to that Group and displays its Patterns in the Pattern Editor under-
neath.
3. Navigate to the desired MIDI file in the Explorer/Finder of your operating system or in the
FILES pane of the MASCHINE Browser.

4. Drag the MIDI file onto the desired Group in the Group List left of the Arranger.
→ The MIDI file will be imported to the selected Pattern of the Group according to the im-
If the Pattern Editor is in Group view, you can also drag the MIDI file directly onto the Event area to
import it to the Group!
MIDI to Group – import rules: When you import a MIDI file into a Group, MASCHINE assumes
that the MIDI file contains data for different instruments (e.g., a drum kit), and the import will
be performed accordingly. Your MIDI file will be imported as follows:
▪ The imported MIDI data will replace any existing data (notes, MIDI tracks, and modulation
tracks) in the selected Pattern.
▪ If the MIDI file contains data on a single MIDI channel: MIDI notes will be imported to the
different Sounds of your Group according to their pitch:
◦ The MIDI note data will be allocated to the various Sounds in your Group according to
the Root Note parameter in the MIDI page of the Group’s Input properties — see sec-
tion ↑12.2.1, Triggering Sounds via MIDI Notes. This parameter defines the lowest
note in the Group, which is tied to Sound slot 1.
Example: If Root Note is set to C1 (which corresponds to MIDI note number 36 in the
MASCHINE convention), all notes with MIDI note number 36 in the MIDI file will be
imported to the first Sound (in Sound slot 1); all notes with MIDI note number 37 will
be imported to the second Sound (in Sound slot 2); etc.

◦ For each Sound, MIDI notes will be imported at the default root note C3 — this en-
sures that the imported MIDI data will correctly trigger all MASCHINE factory kits.
◦ The MIDI CC data will be copied to all Sounds for which MIDI notes have been im-
ported.
▪ If the MIDI file contains data on multiple MIDI channels, the data from the individual chan-
nels will be imported to individual Sounds:
◦ If any channel from the MIDI file corresponds to the MIDI input channel of a particu-
lar Sound in your Group, the data on that channel will be imported to that Sound. The
MIDI input channel of each Sound is defined by the Channel parameter in the MIDI
page of the Sound’s Input properties — see section ↑12.2.1, Triggering Sounds via
MIDI Notes.
◦ For all other channels of the MIDI file (i.e. channels that doesn’t correspond to any
MIDI input channel of a Sound in your Group), the data from individual channels will
be imported to individual Sounds that have not received any data during the current
import yet: the channel with the lowest number will be imported to the Sound with the
lowest slot number, and so on.
Example: if the MIDI file contains data on channels 2, 3, and 5, and the MIDI input
channel isn’t defined in any Sound of your Group, Sound slot 1 will receive the data
from channel 2, Sound slot 2 from channel 3, and Sound slot 3 from channel 5.
Importing a MIDI File to a Sound

You can import a MIDI file to a single Sound. For example, this can be useful to import a me-
lodic part for a single instrument. You can do this from the Sound’s context menu, via drag-
and-drop, or via the FILES pane of the Browser.
Method 1: via the Sound’s context menu
1. In the Group List (left of the Arranger), click the Group containing the Sound for which
you want to import the MIDI file.
This sets the focus to that Group and displays its Sounds and Patterns in the Pattern Edi-
tor underneath.

3. Right-click ([Ctrl]-click on macOS) the desired Sound in the Sound List and select Import
MIDI… from the context menu.
4. In the Import MIDI dialog that opens, navigate to the desired MIDI file on your computer
and click Open to confirm.
→ The MIDI file will be imported to the selected Pattern for that Sound according to the im-
Method 2: via drag and drop
tor underneath.
3. Navigate to the desired MIDI file in the Explorer/Finder of your operating system or in the
FILES pane of the MASCHINE Browser.

4. Drag the MIDI file onto the desired Sound in the Sound List (left of the Pattern Editor).
→ The MIDI file will be imported to the selected Pattern for that Sound according to the im-
If the Pattern Editor is in Keyboard view, you can also drag the MIDI file directly onto the Event
area to import it into the focused Sound!
Method 3: using the FILES pane of the Browser

tor underneath.
3. Set the focus to the desired Sound by clicking it in the Sound List (left of the Pattern
Editor).

4. Open the FILES pane of the Browser and navigate to the desired MIDI file (see section
↑4.6, Loading and Importing Files from Your File System to know how to use the FILES
pane).
5. Double-click the MIDI file or click it and press [Enter] on your computer keyboard.
→ The MIDI file will be imported to the selected Pattern for the focused Sound according to
the import rules described below.
MIDI to Sound – import rules: When you import a MIDI file into a Sound via its context menu,
MASCHINE assumes that the MIDI file contains data for one single instrument (e.g., a bass or
a lead synthesizer), and the import will be performed accordingly. Your MIDI file will be im-
ported as follows:
▪ The imported MIDI data will replace any existing data (notes, MIDI tracks, and modulation
tracks) for that Sound in the selected Pattern. For the other Sounds the Pattern content
won’t be affected.
▪ Any channel information in the MIDI file will be disregarded. All notes will appear in the
same Pattern for that particular Sound. If the same MIDI note number and MIDI CC num-
ber are used in different channels in the MIDI file, the note and automation data will be
merged. Conflicts will be resolved as follows:
◦ Note duplicates: only the longest note is kept.
◦ Modifiers (Mod Wheel, Pitch Bend, etc.), Velocity, and MIDI CCs: higher values are
kept.
Importing Multiple MIDI Files to a Sound or a Group

You can even select multiple MIDI files and import them all to a Sound or Group at once!
Contrary to the single-file import described above, importing multiple files doesn’t replace the
content of the selected Pattern — instead, for each MIDI file in the selection a new Pattern
will be created.
As a consequence, when importing multiple MIDI files you don’t need to select any particular Pat-
tern beforehand.
To import multiple MIDI files to a Group:

1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser.
2. Drag and drop the multiple selection onto the desired Group in the Group List.
→ New Patterns will be created for that Group. Apart from this, each new Pattern receiving
the data from one of the MIDI files. Apart from this, each MIDI file will be imported as a
single MIDI file to that Group — see above for a detailed description.
To import multiple MIDI files to a Sound:
1. Select multiple MIDI files in your operating system or in the FILES pane of the Browser.

2. Drag and drop the multiple selection onto the desired Sound in the Sound List.
→ New Patterns will be created for that Sound in the Group, each new Pattern receiving the
data from one of the MIDI files. Only this Sound will contain notes in these new Patterns.
Apart from this, each MIDI file will be imported as a single MIDI file to that Sound — see
above for a detailed description.
Alternatively, if you have selected the MIDI files in the FILES pane of the Browser, simply press
[Enter] on your computer keyboard to import the multiple selection to the focused Sound!

Audio Routing, Remote Control, and Macro Controls
12 Audio Routing, Remote Control, and Macro Controls
This chapter describes a few important topics and features of MASCHINE’s routing and assign-
ment system. Understanding these will be of great help in numerous MASCHINE workflows:
▪ We will explain how MASCHINE’s audio routing works and how to take advantage of its
flexibility: ↑12.1, Audio Routing in MASCHINE.
▪ We will describe how to route MIDI signals to and from your Sounds and Groups, and how
to control MASCHINE parameters via MIDI and host automation: ↑12.2, Using MIDI Con-
trol and Host Automation.
▪ We will show how to use the powerful Macro Controls to greatly improve your live experi-
ence by putting the desired parameters at your fingertips: ↑12.3, Creating Custom Sets of
Parameters with the Macro Controls.
The Channel Properties

Most of the features described here can be accessed via the Channel properties. Channel prop-
erties are global settings that apply to a particular Sound, Group, or to the Master independ-
ently of which Plug-ins are loaded in its Plug-in slots.
Channel properties are organized into four sets. Similar sets of properties are available for all
channels (Sounds, Groups, and Master): Input properties (unavailable for the Master), Output
properties, Groove properties, and Macro properties.
You can access Channel properties and their parameters via the same procedure as for Plug-
ins, both in the software and from your controller. Please refer to section ↑3.3.9, Navigating
Channel Properties, Plug-ins, and Parameter Pages in the Control Area for a detailed descrip-
tion.
The Input properties, Output properties, and Macro properties are covered in the following sec-
tions. For more information on the Groove properties, please refer to section ↑6.3.3, Groove.

Audio Routing in MASCHINE
12.1 Audio Routing in MASCHINE

MASCHINE offers a powerful audio routing system that you can finely customize to fit your
specific needs.
To make it short, by default the various channels of MASCHINE are structured in a simple, hi-
erarchical way:
▪ At the bottom level, each Sound has its own channel. The output of the Sound’s channel is
sent to its parent Group.
▪ At the mid-level, each Group has its own channel, which sums all channels of the included
Sounds. The output of the Group’s channel is sent to the Master.
▪ At the top level, the Master has its own channel, which sums the channels of all Groups
and ends up at the main output of MASCHINE. The output of the Master’s channel is sent
to your amplification system (in stand-alone mode) or to your host application (in plug-in
mode).
This default basic configuration can be customized in numerous ways. Using the audio settings
available in the Input and Output properties at the Sound, Group, and Master level, you can
build complex routings that cover a wide range of situations, as you will see in the next sec-
tions:
▪ Feed external audio to the input of your Sounds: ↑12.1.1, Sending External Audio to
Sounds.
▪ Adjust the main output of your Sounds and Groups, and route it to various destinations:
↑12.1.2, Configuring the Main Output of Sounds and Groups.
▪ Send auxiliary outputs of your Sounds and Groups to other destinations: ↑12.1.3, Setting
Up Auxiliary Outputs for Sounds and Groups.
▪ Choose the destination and settings for the Master output (MASCHINE’s main output) as
well as for the Cue bus used for pre-listening: ↑12.1.4, Configuring the Master and Cue
Outputs of MASCHINE.

Mix View or Arrange View?

When it comes to adjusting audio and MIDI routings, the Mix view can sometimes be the most
efficient way to do: The familiar mixing desk layout allows you to quickly find the parameters
you are looking for and adjust the routing on the fly. Hence, in the following sections we de-
scribe the procedures in both Arrange view and Mix view. For more details on the Mix view,
please refer to chapter ↑13, Controlling Your Mix.
You will also find useful examples of the various routings described here in chapter ↑14, Using
Effects.
Configuring the Audio Routing from Your Controller

All the procedures described in the following sections make use of the Channel properties. As
a consequence, they can also be done from your controller! To do this, switch your controller to
Control mode and navigate to the desired Channel properties as described in section ↑3.3.9,
Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area.
12.1.1 Sending External Audio to Sounds

Each Sound can be configured to receive external audio signals. These audio signals can be
coming from the following sources:
▪ Outside MASCHINE (from your audio interface if MASCHINE is used in stand-alone mode,
or from your host if MASCHINE is used in plug-in mode).
▪ Additional outputs of multiple-output Plug-ins that might be loaded somewhere else in your
Project.
Each Sound can use one external stereo input. The same external signal can be fed into any
number of Sounds.
For example, this allows you to have any external audio signal be processed by the Plug-ins
loaded in that Sound, and more generally, integrate external audio signals into the MASCHINE
routing and processing system. See also section ↑14.2, Applying Effects to External Audio for
an example of use and step-by-step instructions.
The configuration of external audio inputs for a Sound is done on the Audio page of the
Sound’s Input properties.

The Audio page of the Input properties is available for Sounds only.
MASCHINE 1.x owners: The Audio page of the Sound’s Input properties replaces and extends the
features of the Input Module available in previous MASCHINE versions.
The Audio page of the Input properties for a Sound in the software.
The AUDIO page of the Input properties for a Sound on the controller.
Control Area to know how to access the Audio page of the Input properties in the software and from
your controller.

AUDIO Section
Source Selects an external audio input to be routed to the Sound. Available
entries are None (no external input) and the four external stereo
inputs Ext. 1–4, as well as any additional output(s) of multiple-
output Plug-ins loaded in other Sounds of the same Group. Check
the Routing page of the Audio and MIDI Settings panel to route the
physical inputs of your audio interface to the virtual audio inputs of
MASCHINE.
Gain Adjusts the gain of the incoming signal.
If MASCHINE is running as a plug-in, the external stereo inputs Ext. 1–4 available in the Source
selector of the MAIN section will correspond to virtual inputs in your host. This allows you to send
mixer channels from your DAW to individual Sounds within MASCHINE, for example. Please refer to
your host documentation to know how to route signals to the virtual audio inputs of your MASCHINE
plug-in.
As any Parameter page of any Channel properties or Plug-in, this page is also available on your con-
troller. To access it and change its parameters, simply use the common workflow described in
↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control Area. Further-
more, you will find a step-by-step use case in ↑14.2, Applying Effects to External Audio.
Configuring External Inputs for Sounds in Mix View

You can also easily send external audio to Sounds in MASCHINE’s Mixer:
1. Click the Mix View button on the left of the Arranger to switch from Arrange view to Mix
view:

2. Open the extended view of the Mixer by clicking the down-pointing arrow on the left of the
Mixer:
3. Check that the IO button is active on the left of the Mixer — if not, click it to enable it
and display the input/output settings of each channel strip.
4. If the Mixer currently displays the Group channels, in the top row of the Mixer double-
click the header of the Group containing the Sound you want to configure. If the Mixer
currently displays the Sound channels, single-click the header of the desired Group.
The Mixer displays the channel strips of all Sounds in the selected Group.

5. At the top of the channel strip of the Sound you want to configure, click the first field
under the Sound name and select the desired external input in the menu.
This is equivalent to setting the Source parameter described above.

6. Turn the little knob on its left to adjust the input gain.
This is equivalent to setting the Gain parameter described above.

12.1.2 Configuring the Main Output of Sounds and Groups

By default the outputs of all Sounds in a Group are sent to this Group, where they are mixed
together and processed by the Plug-ins loaded in the Group, if any. Similarly, by default the
outputs of all Groups are sent to the Master, where they are mixed together and processed by
the Plug-ins loaded in the Master, if any.
This default behavior can be customized to your liking: You can adjust the level and panoramic
position of the channel output, or send it to the Cue bus for pre-listening. Furthermore, you
could send individual Sounds or whole Groups to other pairs of outputs on your audio interface
in order to process them separately at a later stage. The output routing configuration is done
on the Audio page of the Output properties for Sounds and Groups.
We describe here the Audio page of the Output properties for Sounds and Groups only. The equiva-
lent page for the Master will be described in section ↑12.1.4, Configuring the Master and Cue Out-
puts of MASCHINE.
The Audio page of the Output properties (here for a Sound) in the software.
The AUDIO page of the Output properties (here for a Sound) on the controller.

Control Area to know how to access the Audio page of the Output properties in the software and
from your controller.
AUDIO Section
Dest. Selects where you want to send the main audio output of your
channel.
For Sounds, available options are None (no output), Master, Group
(parent Group, default setting), any other Group or any other Sound
acting as bussing point (i.e. containing an Effect Plug-in in its first
Plug-in slot), as well as the 16 external stereo outputs Ext. 1–16.
For Groups, available options are None (no output), Master (default
setting), any other Group acting as bussing point (i.e. containing an
Effect Plug-in in its first Plug-in slot), any Sound acting as bussing
point in any other Group, as well as the 16 external stereo outputs
Ext. 1–16.
The available bussing points are labeled as described below.
Cue When Cue is enabled, the main output of the channel is sent to the
Cue bus instead of its normal target (defined in Dest., see above).
For example, this is very useful to pre-listen a channel before you
mix it in your performance. See also section ↑13.2.6, Using the
Cue Bus for more information.
Note that when Cue is enabled, the channel’s Aux 1 and Aux 2
outputs are muted as well — but they are not sent to the Cue bus
(see ↑12.1.3, Setting Up Auxiliary Outputs for Sounds and Groups).
Level Adjusts the overall volume level of the channel.

Pan Defines the pan position of the channel in the stereo field.
Audio Mute (Sounds If you enable Audio Mute, muting this Sound will not only bypass
only) its events but also mute its audio output, thereby muting any audio
tails from notes already played. See section ↑6.3.1, Mute and Solo
for more information.
If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Dest.
selector of the MAIN section will correspond to virtual outputs in your host. This allows you to send
individual Sounds or Groups from MASCHINE to their own mixer channels within your DAW, for ex-
ample.
Labels for Bussing Points in the Dest. Selector

The various bussing points available in the Dest. selector (described in the table above) are la-
belled differently in the drop-down menu and in the display of the selector:
▪ In the drop-down menu they are labeled as follows:
◦ For Groups: [Group name] (e.g., Drums).
◦ For Sounds: [Group name]: [Sound name]-[input number] (e.g., Drums: Kick-1).
▪ In the selector display they are labeled as follows:
◦ For Groups: [Group letter+number] (e.g., A2).
◦ For Sounds: [Group letter+number]:S[Sound number]-[input number] (e.g., A2:S4-1 for
the first input of the Sound 4 of Group A2).
On your controller the bussing points available in the DEST. parameter are labeled as in the selector
display described above.
Level and Pan Shortcuts for Sounds and Group

You can quickly access the Level and Pan parameters described above via the little knobs
available in the Sound List and in the Group List, at the left of the Pattern Editor and the Ar-
ranger, respectively: For each channel (Sound or Group) the left knob adjusts the level and the
right knob adjusts the panoramic position.

The pair of knobs for each Sound/Group allows you to quickly adjust the channel level and panoramic position.
For Sound slots, the knobs are visible only when the Pattern Editor is in Pad Mode. In Keyboard
mode, the knobs are not visible.
Configuring the Main Outputs of Sounds and Groups in Mix View

You can also easily configure the outputs of your Sounds and Groups in MASCHINE’s Mixer:
view:

Mixer:
Navigate to the channel of which you want to configure the output: for a Sound click the
header of its parent Group (or double-click it if the Mixer currently displays the Group
channel strips), and for a Group simply ensure that its channel strip is visible (double-
click the Group header if the Mixer currently displays the Sound channel strips).
3. To adjust the level, panoramic position or Cue state of a channel, use the channel’s fader,
balance control (above the fader) or headphone button (below the fader), respectively.
This is equivalent to setting the Level, Pan, and Cue parameters described above, respec-
tively.

4. To select another destination for the channel’s output, click the first area under the level
meter, and select the desired destination in the menu.
This is equivalent to setting the Dest. parameter described above.
12.1.3 Setting Up Auxiliary Outputs for Sounds and Groups

Each Sound or Group of your Project provides two auxiliary outputs that you can route to addi-
tional targets. For example, you can send a definable amount of the channel’s audio output to
other channels for further processing. This is notably used in send effects — see section
↑14.3, Creating a Send Effect to learn how to set up a classic send effect.
The auxiliary outputs of a Sound/Group are configured on the Aux page of the Output proper-
ties.
There is no Aux page in the Output properties of the Master.

The Aux page of the Output properties (here for a Group) in the software.
The AUX page of the Output properties (here for a Group) on the controller.
Control Area to know how to access the Aux page of the Output properties in the software and from
your controller.
AUX 1 / AUX 2 Section
Dest. Selects where you want to send the Aux 1 or Aux 2 output of your
channel. Available options are the same as for the Dest. selector of
the Audio page (see ↑12.1.2, Configuring the Main Output of
Sounds and Groups), except that for Aux 1 and Aux 2 the default
destination is None — in other terms there are no auxiliary sends
defined by default.

Level Adjusts the level of the signal sent to the Aux 1 or Aux 2 output.
Order If Order is set to Pre, the channel will be fed into Aux 1 or Aux 2
before the Level and Pan settings of the MAIN section on the Audio
page are applied. If Order is set to Post (default setting), the Level
and Pan settings of the main output also affect the signals sent to
the auxiliary outputs.
If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Dest.
selectors of the AUX 1 and AUX 2 section will correspond to virtual outputs in your host. This allows
you to send auxiliary outputs of individual Sounds or Groups from MASCHINE to their own mixer
channels within your DAW, for example.
Setting Up the Auxiliary Outputs of Sounds and Groups in Mix View

You can also easily set up auxiliary outputs for your Sounds and Groups in MASCHINE’s Mixer:
view:
Mixer:

3. Check that the AUX button is active on the left of the Mixer — if not, click it to enable it
and display the settings for the auxiliary outputs of each channel strip.
4. Navigate to the channel of which you want to configure an auxiliary output: for a Sound
click the header of its parent Group (or double-click it if the Mixer currently displays the
Group channel strips), and for a Group simply ensure that its channel strip is visible (dou-
ble-click the Group header if the Mixer currently displays the Sound channel strips).
5. In the channel strip of the desired Sound or Group, click the AUX 1 or AUX 2 label (de-
fault labels) at the bottom of the strip and select the desired destination in the menu.

6. Adjust the level for that auxiliary output via the little knob at the right of the menu.
This is equivalent to setting the Level parameter described above.

7. Set the pre/post state of the auxiliary output by clicking the Post (or Pre) label right under
the menu.
This is equivalent to setting the Order parameter described above.
12.1.4 Configuring the Master and Cue Outputs of MASCHINE

All channels routed to the Master are mixed together and processed by the Plug-ins loaded in
the Master, if any. The result is then sent to the Master output (that is, MASCHINE’s main out-
put).
Besides, all channels currently routed to the Cue bus for pre-listening are mixed together and
sent to the Cue output.
For more information on how to use the Cue bus, see section ↑13.2.6, Using the Cue Bus.
You can choose to which outputs (on your audio interface or in your host) both Master and Cue
outputs should be sent, and adjust their respective levels and panoramic positions. This is
done on the Audio page of the Output properties for the Master.

The Audio page of the Output properties for the Master in the software.
The AUDIO page of the Output properties for the Master on the controller.
Control Area to know how to access the Audio page of the Output properties in the software and
from your controller.
AUDIO Section
Output Selects where you want to send the master output of your
MASCHINE Project. Available options are the 16 external stereo
outputs Ext. 1–16.
Level Adjusts the overall volume level of the master output. This control
is the same as the Master Volume slider in the Header, at the top
right corner of MASCHINE’s window.
Pan Defines the panoramic position of the master output in the stereo
field.

CUE Section
Output Selects where you want to send the Cue bus of your MASCHINE
Project. Available options are the 16 external stereo outputs Ext. 1–
16. By selecting a different output from the one used for the main
stereo output, you can effectively pre-listen on this additional
output (e.g., on your headphones) any channel(s) currently sent to
the Cue bus. To send a channel to the Cue bus, enable the Cue
switch in the Audio page of its Output properties (see section
↑12.1.2, Configuring the Main Output of Sounds and Groups).
Level Adjusts the level of the Cue output.
Pan Defines the panoramic position of the Cue output in the stereo
field.
If MASCHINE is running as a plug-in, the external stereo outputs Ext. 1–16 available in the Output
selector of the MAIN and CUE sections will correspond to virtual outputs in your host.
Configuring the Master and Cue Outputs in Mix View

You can also easily configure the Master and Cue outputs of MASCHINE in the Mixer. Both
share the same channel strip at the far right of the Mixer.
To display the Master/Cue channel strip, do the following:
view:
Mixer:

3. Click the background of the last header in the top right corner of the Mixer.
The Master/Cue channel strip appears underneath.

In this Master/Cue channel strip, do the following to configure the output of the Master chan-
nel:
1. Click Master in the strip’s header to show the controls for the Master channel.
2. To adjust the level and panoramic position of the main output, use the channel’s fader
and balance control (above the fader), respectively.
This is equivalent to setting the Level or Pan parameters in the MAIN section, respectively
(see above).

3. To select another destination for the Master output, click the first area under the level
meter and select the desired destination in the menu.
This is equivalent to setting the Output parameter in the MAIN section (see above).
In this Master/Cue channel strip, do the following to configure the output of the Cue channel:
1. Click the headphone icon in the strip’s header to show the controls for the Cue channel.

2. To adjust the level and panoramic position of the Cue output, use the channel’s fader and
balance control (above the fader), respectively.
This is equivalent to setting the Level or Pan parameters in the CUE section, respectively
(see above).
3. To select another destination for the Cue output, click the first area under the level meter
and select the desired destination in the menu.
This is equivalent to setting the Output parameter in the MAIN section (see above).
12.1.5 Mono Audio Inputs

Each Sound can be configured to receive external stereo or mono audio signals. You may use
audio signals from outside MASCHINE (from your audio interface if MASCHINE is used in
stand-alone mode, or from your host if MASCHINE is used in plug-in mode).

MASCHINE offers either 4 stereo inputs or 8 mono inputs, so each Sound can use one external
mono or stereo input. The same external signal can be fed into any number of Sounds.
For example, this allows you to process any external audio signal using the plug-ins loaded in a
Sound, and more generally, integrate external audio signals into the MASCHINE routing and
processing system.
The external audio inputs for a Sound can be configured on the Audio page of the Sound’s In-
put properties.
Configuring External Audio Inputs in the Input Properties.
For more information on audio routing and sending external audio to Sounds, please read
chapter 8 of the MASCHINE Manual.
12.1.5.1 Configuring External Inputs for Sounds in Mix View

You can also easily send stereo or mono external audio to Sounds in MASCHINE’s Mixer:

view:
Mixer:

5. At the top of the channel strip of the Sound you want to configure, click the first field
under the Sound name and select the desired external input in the menu.
6. Turn the little knob on its left to adjust the input gain.

Using MIDI Control and Host Automation
12.2 Using MIDI Control and Host Automation

MASCHINE provides you with flexible MIDI remote control and host automation facilities that
can be used in many situations.
Incoming MIDI and Host Automation

MASCHINE’s Master, Groups and Sounds can be controlled via MIDI and the host (when MA-
SCHINE is running as a plug-in), both globally and individually:
▪ By default, all MIDI data incoming on the enabled MIDI input port(s) will be received by
the focused Sound of the focused Group. See ↑3.7.3, Preferences – MIDI Page to find in-
formation on how to enable/disable MIDI input ports in MASCHINE.
▪ Triggering Sounds via MIDI notes: By default, incoming MIDI notes will trigger the focused
Sound. You can change this default behavior and map incoming MIDI notes differently in
order to adapt MASCHINE to your requirements. The appropriate MIDI settings can be con-
figured in the MIDI page of the Input properties, both for individual Sounds and for entire
Groups. These are described in section ↑12.2.1, Triggering Sounds via MIDI Notes.
▪ Controlling parameters via MIDI messages and host automation: You can control parameters of
Channel properties and Plug-ins in your channels (Sounds, Groups, and Master) via MIDI
messages and host automation (when MASCHINE is running as a plug-in). This is descri-
bed in section ↑12.2.3, Controlling Parameters via MIDI and Host Automation.
▪ Switching Plug-in Patches via MIDI Program Change messages: You can use MIDI Program
Change messages to recall particular patches (or programs, presets, etc.) for Native Instru-
ments and External Plug-ins loaded at the Sound level. This is described in section
↑12.2.4, Selecting VST/AU Plug-in Presets via MIDI Program Change.
When MASCHINE is running as a plug-in in a host, you can also trigger your Scenes using MIDI
notes or MIDI Program Change messages. Please refer to section ↑16.5, Triggering Sections or
Scenes via MIDI for more information on this.

Outgoing MIDI
You can also sending MIDI data from Sounds. For example, when MASCHINE is running as a
plug-in in a host environment, this allows you to record your performance on the pads as a
MIDI pattern in your host application. This is described in section ↑12.2.5, Sending MIDI from
Sounds.
12.2.1 Triggering Sounds via MIDI Notes

MASCHINE allows you play your Sound(s) via MIDI (e.g., from a MIDI keyboard).
By default and without any configuration, incoming MIDI notes on any MIDI port and any MIDI
channel will trigger different pitches of the Sound slot currently focused.
To play one or more Sounds via MIDI notes independently of the Sound currently focused, you
need to configure the MIDI input settings of your Sound(s) or of their Group, i.e. define how
the Sound(s) or the Group should react to incoming MIDI notes. This is done in the MIDI page
of the Group or the Sounds Input properties.
There is no MIDI page in the Input properties of the Master.
When configuring these MIDI input settings, keep in mind the following:
▪ MIDI input settings for a Group affect all Sounds in the Group: Each Sound will be triggered
by a different MIDI note. Typically, this allows you to quickly set up a MIDI remote control
for an entire drum kit.
▪ MIDI input settings for a Sound affect only that Sound: Incoming MIDI notes will trigger dif-
ferent notes of this Sound. Typically, this allows you to control a melodic instrument via
MIDI. More precisely, the incoming MIDI notes will be routed to the first Plug-in slot of the
Sound.
If the Sound has no Plug-ins, incoming MIDI notes will be forwarded to the Sound’s MIDI output, if
enabled (see section ↑12.2.5, Sending MIDI from Sounds).

▪ MIDI input settings of a Sound and its parent Group are merged: For example, if you con-
figure a Group to react to incoming notes on MIDI channel 1, but one Sound is setup to
react to incoming notes on MIDI channel 2, then this Sound will react to one incoming
note on MIDI channel 1 and all incoming notes on channel 2.
▪ The MIDI input settings described here also affect other MASCHINE features:
◦ The preset selection via MIDI Program Change for Native Instruments and External
Plug-ins. See section ↑12.2.4, Selecting VST/AU Plug-in Presets via MIDI Program
Change for more information.
◦ The way MIDI files are imported to Sounds and Groups. See section ↑11.8.3, Import-
ing MIDI to Patterns for more information.
◦ The way the MIDI dragger in the Pattern editor places Sounds when they are dragged
to host software.
▪ MIDI automation (i.e. controlling MASCHINE parameters via MIDI) is not affected by the
settings described here. For more information on MIDI automation, please refer to section
↑12.2.3, Controlling Parameters via MIDI and Host Automation.
The MIDI page of the Input properties (here for a Group) in the software.

The MIDI page of the Input properties (here for a Group) on the controller.
Control Area to know how to access the MIDI page of the Input properties in the software and from
your controller.
The MIDI input settings for Sounds and Groups provide following parameters:

MIDI ROUTING Section
Key Mode (Pad Mode Enables the MIDI note input for the selected Group (disabled by
only) default). Please refer to your host documentation to find out how to
route MIDI signals to your MASCHINE plug-in.
Key Mode offers the following options:
Off: Select this option to disable MIDI note input for the selected
Group.
Drumkit: Select this option to conveniently configure the MIDI note
input for the selected Group and place each Sound on a specific
key chromatically across the keyboard starting from C2 upwards.
If nothing is loaded on a Sound nothing can be triggered, and if you
use a Native Instruments KOMPLETE KONTROL S-series keyboard
the Light Guide will remain white to indicate that nothing loaded.
Additionally, KOMPLETE KONTROL S-series keyboards have a
dedicated KEY MODE button to quickly active the Drumkit option
for the selected Group in MASCHINE.
By selecting Drumkit you also affect how MIDI is exported from
MASCHINE to another host sequencer when using the MIDI dragger
in the Pattern editor, for more information on the how to drag and
drop MIDI from your Patterns to your desktop or host software
please read: ↑11.8, Importing/Exporting Audio and MIDI to/from
Patterns.
Manual: This option allows you to configure the MIDI note input
based on your own preferences, including the Source, Channel,
Start Note and Thru settings.

Source (stand-alone and Select the MIDI port on which the Sound or Group will receive MIDI
in Manual mode only) notes. Available entries are None (MIDI note input disabled, default
setting), All (MIDI notes are received on all enabled input ports),
and each enabled MIDI input port. You can enable the desired MIDI
input ports of your MIDI interfaces in the MIDI page of the Audio
and MIDI Settings panel (see section ↑3.7.3, Preferences – MIDI
Page). Note that when None is selected for both a Sound and its
parent Group, if the Sound is focused it will receive MIDI notes
from all MIDI ports and on all MIDI channels.
Channel (Manual mode Select the MIDI channel on which the Sound or Group will receive
only) MIDI notes. If you select All (default setting), the Sound or Group
will receive MIDI notes from all channels.
The Channel parameter of a Sound is also used when importing a
multi-channel MIDI file to its Group — see section ↑11.8.3,
Importing MIDI to Patterns for more on this.
Start Note (Manual Define the MIDI root note for that Group (C1 by default). The MIDI
mode only) root note and the upper 15 MIDI notes (from [Root Note] until
[Root Note + 15]) will trigger the root note of Sound slot 1–16,
respectively. Incoming MIDI notes outside this range will be ignored
by the Group.
The Start Note parameter is also used when importing a single-
channel MIDI file to the Group — see section ↑11.8.3, Importing
MIDI to Patterns for more on this.
Thru (Manual mode Switch this parameter on to send incoming events through to the
only) MIDI outputs. This can be useful if you want to record notes played
from MASCHINE into your host sequencer, and then play them
back from there, using MASCHINE as the sound source.
Switch this parameter off to stop incoming events from being
routed to the outputs.

Some of these parameters also affect MIDI file import: The Channel parameter of a Sound will be
used when importing a multi-channel MIDI file to its Group, while the Root Note parameter will be
used when importing a single-channel MIDI file to the Group. For more information on MIDI file im-
port please refer to section ↑11.8.3, Importing MIDI to Patterns.
If MASCHINE is running as a plug-in in a host and you have configured your Scenes to be triggered
via MIDI notes, the Scene trigger has priority over any Sound trigger set to the same MIDI channel.
To configure MIDI control for Scenes, please refer to section ↑16.5, Triggering Sections or Scenes
via MIDI.
Configuring MIDI Note Input for Sounds and Groups in Mix View
You can also easily configure the MIDI note input of your Sounds and Groups in MASCHINE’s
Mixer:
view:
Mixer:

4. Above the fader area in the channel strip of the Sound or Group you want to configure,
click the bigger field on the right (labeled MIDI IN by default) and select the desired MIDI
port in the menu.
This is equivalent to setting the Source parameter described above.

If MASCHINE is running as a plug-in you see a MIDI IN button instead. Click it to enable
the MIDI input from the host.
This is equivalent to enabling the Active button described above.

5. Click the little field on its left to select a MIDI channel.
This is equivalent to the Channel parameter described above.
12.2.2 Triggering Scenes via MIDI

The MASCHINE hardware SCENE mode can be configured to send out MIDI (Notes/Program
Changes) which can be used to trigger scenes. When MASCHINE runs as a Plug-in this MIDI
data is sent to the host application. When MASCHINE runs as a stand-alone application this
MIDI data is send out to all activated MIDI output devices.
MIDI Scene Change program change messages can be used to record a Scene performance to
a host application, and all recorded Scene performances can be then be saved within your host
and sent back to MASCHINE for playback and trigger Scenes in the recorded order.
Sending MIDI Scene Change Messages

To enable or disable the MIDI Scene Change feature, do the following:
1. Click Edit > MIDI Change.
2. In the submenu that opens, select the source you want to use for changing the MIDI Pro-
gram Change messages. A list of connected controller names appear in the drop-down
menu, or you can select None to disable the feature.
3. Then from the drop-down menu select MIDI Note to trigger your Scenes via MIDI notes, or
Program Change to trigger your Scenes via MIDI Program Change messages.

4. If necessary, reopen the same submenu and select the MIDI channel the Scene changes
should receive MIDI messages from (channel 1 by default).
MIDI Scene change has priority over Lock change. If you select the same MIDI Source and Channel
for Lock and Scene changes, only Scenes will be triggered by the corresponding events coming from
the MIDI source. Corresponding Lock snapshots will not be recalled.
5. For more information on MIDI Lock Changes refer to ↑6.5.7, Triggering Lock Snapshots
via MIDI.
12.2.3 Controlling Parameters via MIDI and Host Automation

You can assign many parameters of the Channel properties and Plug-ins located in your various
channels (Sounds, Groups, and Master) of your Project to MIDI messages in order to control
and automate them via MIDI.
In addition, when MASCHINE is running as a plug-in, you can assign these parameters to auto-
mation IDs in order to control and automate them via host automation tracks in your host.
Configuring MIDI and host automation is possible in the software only.
In MASCHINE, automation means the control of MASCHINE parameters from an external source
(MIDI or host application). Value changes are:
▪ Permanent: The new parameter value stays valid until a new value is defined (via MIDI/host
or manually), even when the playback is looped or restarted.
▪ Absolute: The new parameter value is defined regardless of its current value.
Automation vs. Modulation

Although both deal with automatic change of MASCHINE parameters, automation and modula-
tion have to be distinguished. The following table summarizes the main differences:

Modulation Automation
Source of control Internal (e.g., changes External (e.g., an external
recorded via Auto-write) MIDI sequencer or an
automation track in your host)
Duration of the change Temporary (until the end of Permanent
the Clip)
Target parameters At the Sound and Group At all levels (Sound, Group,
levels only and Master)
Nature of the change Relative (defines a deviation Absolute (defines a new value
(continuous parameters only) to the non-modulated value) regardless of the non-
automated value)
This section describes how to use automation in MASCHINE — for more information on using
modulation, please refer to section ↑11.5, Recording and Editing Modulation.
Please note that modulation and automation are not mutually exclusive: You can modulate a
parameter in MASCHINE and automate it (e.g., from your host) simultaneously! As a result,
the parameter value will deviate (according to the recorded modulation) from its moving value
defined by the automation.
Using the Automation Pane in the Assignment Area

MIDI and host control can be configured in the Automation pane of the Assignment area:
The Automation pane of the Assignment area.

2. In the left part of the Assignment area, click the Automation tab:
→ The Automation tab lights up and the Automation pane appears on its right. You are now
ready to configure MIDI and host automation for the parameters in the current Parameter
page.
Once the Assignment area is open, when you switch to other Parameter pages the Assignment area
follows your selection: it always shows the assignments for the page currently displayed above.
MASCHINE 1.x owners: In previous MASCHINE versions MIDI/host automation was only possible
via the Macro Controls. Now MIDI/host automation and Macro Controls are unrelated: MIDI/host au-
tomation can be configured directly on parameters, independently of your Macro Control assign-
ments. Macro Controls now specifically serve as shortcuts (or “aliases”) for parameters — see sec-
tion ↑12.3, Creating Custom Sets of Parameters with the Macro Controls for more information.
The Automation pane holds two tabs:

▪ MIDI tab: Click the MIDI tab to assign MIDI messages to automatable parameters. You can
then remote control and automate MASCHINE parameters from any MIDI-capable device or
software. Possible MIDI messages are Pitch wheel, Program Change, and MIDI CC 0–127.
▪ Host tab: Click the Host tab to assign automation IDs to automatable parameters if MA-
SCHINE is running as a plug-in. You can then remote control and automate MASCHINE
parameters from your host application.
Under each automatable parameter of the current Parameter page, the Automation pane shows
an Assignment field showing the current assignment for this parameter, if any. If the parameter
has no assignment yet, the Assignment field reads Learn (MIDI tab) or Enable (Host tab). If
the parameter cannot be automated, its Assignment field is grayed out and inactive (see below
to know which parameters can be automated).

A MIDI CC assignment for the current Parameter page.
A few host automation assignments for the current Parameter page.
The following paragraphs describe in more details how to assign MIDI controls and host auto-
mation IDs to MASCHINE parameters.
Which MASCHINE Parameters Are Automatable?

All the automatable parameters are found in Plug-ins or Channel properties (e.g., you cannot
automate the Pattern Length or the color of a Scene). In the software in Mix view, this means
that all automatable parameters are found in some Parameter page of the Control area.
In order to be automatable, parameters of Plug-ins and Channel properties have to meet one
single requirement:
▪ In order to be automatable, a parameter must be controlled by a knob or a button in the soft-
ware — most parameters controlled by selectors (e.g., for selecting an operating mode or a
filter type) cannot be automated.
Almost all parameters meeting this requirement are automatable, the only exceptions being:

▪ Plug-ins:
◦ Saturator: in Tube mode, the Bass Overload button (MAIN section) and Bypass button
(EQ section).
◦ Percussion (Drumsynth): in Fractal mode, the Tune Hold button in the Main page.
▪ Channel properties:
◦ Sound’s and Group’s Output properties: the Cue button in the Audio page.
◦ Group’s Input properties: the Root Note knob in the MIDI page.
◦ Master’s Groove properties: the Amount knob and Invert toggle in the Swing page.
You will notice that the rules for automatable parameters are the same as for modulatable parame-
ters except that modulatable parameters can only be found in Sounds and Groups (not in the Mas-
ter). In other words, at the Sound and Group level the same parameters are both automatable and
modulatable. For more information on modulation please refer to section ↑11.5, Recording and Ed-
iting Modulation.
Also note that your Macro Controls will be automatable if, and only if, the parameters they are
controlling are themselves automatable. For more information on Macro Controls please refer to
section ↑12.3, Creating Custom Sets of Parameters with the Macro Controls.
Assigning Host Automation IDs to Parameters (MASCHINE as Plug-in)

1. Click the down-pointing arrow in the bottom left corner of the Control area to open the
Assignment area underneath.

2. On the left of the Assignment area, click the Automation tab to show the Automation
pane, then in this pane click the Host tab.
3. Click the Enable label in the Assignment field under any unassigned parameter to auto-
matically assign that parameter to the next free automation ID.
→ The Assignment field displays the automation ID for that parameter. The parameter is
ready to be controlled from your host.
Removing an automation ID is also straightforward:

► Click the non-empty Assignment field under any assigned parameter to remove the auto-
mation ID currently assigned to that parameter.

→ The previous automation ID is removed from the Assignment field and the parameter is
not available anymore for host automation.
For more information on how to automate VST/AU plug-in parameters from your host, please refer to
your host documentation.
Assigning MIDI Controls to Parameters

Assigning a MIDI control to a parameter in MASCHINE is done via an intuitive Learn mode:
1. Click the down-pointing arrow in the bottom left corner of the Control area to open the
Assignment area underneath.
2. On the left of the area, click the Automation tab to show the Automation pane, then in
this pane click the MIDI tab.
In this tab, the Assignment fields for automatable parameters read Learn.

3. Click Learn in the Assignment field of a parameter to enter Learn mode for that parame-
ter.
The Assignment field shows a blinking Learning.
4. Move the desired control element (knob, button, etc.) on your MIDI controller.
→ The Assignment field automatically displays the MIDI message type received (CC number,
PC for Program Change, or PW for Pitchbend). The parameter is ready to be controlled via
MIDI.
Note that the assignments you create will receive MIDI messages on all channels of all enabled
MIDI ports.
For the Learn mode and the resulting MIDI control to work, MIDI must be correctly configured in
MASCHINE. If MASCHINE is running as stand-alone application this is done in the MIDI page of
the Preferences panel — for more details please refer to section ↑3.7.3, Preferences – MIDI Page.
If MASCHINE is running as a plug-in in a host application the MIDI configuration is done in the
host — see section ↑3.5, Stand-Alone and Plug-in Mode.
If there is already a MIDI assignment for the parameter, the new MIDI assignment will replace
the previous one. If you change your mind and don’t want to assign any new MIDI control,
while Learn is blinking click the Assignment field again or press [Esc] on your computer key-
board.
You cannot assign the same MIDI control to more than one parameter in MASCHINE: If a MIDI con-
trol is already assigned to a parameter, when you assign it to another parameter its first assignment
is automatically deleted.
If you want to simply remove a MIDI assignment without recording a new one, do the following:

► Right-click ([Ctrl]-click on macOS) the non-empty Assignment field under a parameter

and select Unlearn in the menu to remove the MIDI assignment for that parameter.
→ The MIDI assignment is removed from the Assignment field and the parameter is not con-
trollable via MIDI anymore.
Of course, this procedure also works for Native Instruments and External Plug-ins loaded in
MASCHINE.
12.2.4 Selecting VST/AU Plug-in Presets via MIDI Program Change

If you have a Native Instruments or third-party VST/AU plug-in loaded in a Sound, you can re-
motely switch presets (or patches, programs, etc.) in your plug-in via MIDI Program Change
messages.
For this to work, your plug-in must expose its presets (or a particular set of presets) to the host.
Each VST/AU instrument or effect might handle its presets (or patches, programs…) different-
ly. Please refer to the plug-in documentation to know how to make its presets available to the
host.
For example, in MASSIVE, ABSYNTH 5, and FM8, you need to enable the Program List and fill it
up with the desired patches in order to expose these to MASCHINE and switch between them via
MIDI Program Change messages.
The Native Instruments or third-party VST/AU plug-in will listen to Program Change messages
according to the Source and Channel settings you have defined on the MIDI page of the Input
properties for the respective Sound — this page is described in detail in section ↑12.2.1, Trig-
gering Sounds via MIDI Notes above.

12.2.5 Sending MIDI from Sounds

Your Sounds can output MIDI notes and automation data to the outside world, allowing you to
control any MIDI-capable application and/or external MIDI gear from MASCHINE’s sequencer.
With its MIDI output enabled, a Sound will send:
▪ MIDI notes corresponding to the notes played by that Sound in the current Pattern.
▪ MIDI notes corresponding to your hits on the pads.
▪ All events of the MIDI tracks you might have created in the MIDI Automation pane of the
Control Lane, at the bottom of the Pattern Editor. See section ↑11.6, Creating MIDI Tracks
from Scratch in MASCHINE for more on this.
A Sound without any Plug-in loaded can still send the MIDI data listed above! Furthermore, if the
Sound has no Plug-in it will forward any incoming MIDI notes to its MIDI output. To know how to
configure the MIDI note input of Sounds, please refer to section ↑12.2.1, Triggering Sounds via
MIDI Notes.
The MIDI output of Sounds is configured on the MIDI page of the Output properties for
Sounds.
The MIDI page of the Output properties is available for Sounds only.
MASCHINE 1.x owners: The MIDI page of the Sound Output properties replaces and extends the
features of the MIDI Out Module available in previous MASCHINE versions.
The MIDI page of the Output properties for a Sound in the software.

The MIDI page of the Output properties for a Sound on the controller.
Control Area to know how to access the MIDI page of the Output properties in the software and from
your controller.
Control Description
MIDI Section
Dest. Selects the MIDI port on which the Sound will send MIDI data.
If MASCHINE is running in stand-alone mode, available entries are
None (MIDI output disabled, default setting), every enabled MIDI
output port, as well as any Sound in the same Group containing a
Plug-in that can receive MIDI (multitimbral Plug-in). Check the
MIDI page of the Preferences panel to enable the desired MIDI
output ports on your MIDI interfaces (see ↑3.7.3, Preferences –
MIDI Page).
If MASCHINE is running as a plug-in in a host application, the
entries for the enabled MIDI output ports are None (MIDI output
disabled, default setting) and Host. If Host is selected, MASCHINE
will forward the MIDI data from the Sound to the host application.
This notably allows you to record what you play on the pads as MIDI
files in your host — e.g., for further editing, controlling other
instruments, etc.

Control Description
Channel Selects the MIDI channel on which the Sound will send MIDI data.
By default Sound slot 1 will send MIDI data on channel 1, Sound
slot 2 on channel 2, etc.
Transpose Applies an offset to the MIDI note numbers before the notes are
sent. Values range from -48 (downward transposition by 48
semitones, i.e. four octaves) to +48 (upward transposition by 48
semitones, i.e. four octaves). The default value is 0.
Configuring MIDI Output for Sounds in Mix View

You can also easily configure the MIDI output of your Sounds in MASCHINE’s Mixer:
view:
Mixer:

The Mixer displays the channel strips of all Sounds in the selected Group.
5. At the bottom of the channel strip of the Sound you want to configure, click the bigger
field left and select the desired MIDI port in the menu.

Creating Custom Sets of Parameters with the Macro Controls
6. Click the little field on its right to select a MIDI channel.
This is equivalent to the Channel parameter described above.
12.3 Creating Custom Sets of Parameters with the Macro Controls

Macro Controls enable you to control in one same location a selection of parameters coming
from different sources. Available in every channel (Sounds, Groups, and Master), Macro Con-
trols are very useful for playing live since you can choose a set of parameters from various sour-
ces to manipulate on one screen without having to switch screens.
MASCHINE 1.x owners: In MASCHINE 1.x Macro Controls were additionally used to automate MA-
SCHINE parameters via MIDI or host automation. This is not the case in MASCHINE 2.0 anymore:
automation and Macro Controls now are totally independent. Now MASCHINE parameters can be di-
rectly assigned to MIDI controls or host automation IDs (as described in section ↑12.1.4, Configur-
ing the Master and Cue Outputs of MASCHINE), while Macro Controls are plain shortcuts of the de-
sired parameters, at all levels of MASCHINE, and without any limitation in number.
The Macro Controls are available in the Macro properties.
The Macro properties (here for a Sound) in the software.

The Macro properties (here for a Sound) on the controller.
Control Area to know how to access the Macro properties in the software and from your controller.
12.3.1 Macro Control Overview

Each Macro Control can be assigned to one destination with the full range of the selected pa-
rameter. On the other hand, the same parameter can be the destination of more than one Mac-
ro Control.
To know which parameters you can assign to a Macro Control, consider this single rule:
A Macro Control of a channel can control any parameter located in the properties or Plug-ins of that
channel or of any underlying channel. In other words:
▪ For Sounds: You can assign the Macro Controls of a Sound to any parameters in its proper-
ties or Plug-ins. It is also possible to assign MIDI Control Change messages, Pitchbend and
Program Changes to Macro Controls in order to control external MIDI devices.
▪ For Groups: You can assign the Macro Controls of a Group to any parameters in its proper-
ties or Plug-ins as well as any parameters in any Sound inside the Group.
▪ For the Master: You can assign the Macro Controls to any parameters found in the proper-
ties or Plug-ins of any channel in your Project.
Obviously, the Macro properties (even of a different channel) are not available as targets for any
Macro Control.

Linking the same parameter to more than one Macro Control can be useful in the following example:
If a parameter of a Sound is particularly important, you can link it to the same knob in the Macro
Controls of that Sound, of its parent Group, and of the Master. By doing this, you ensure that the
parameter is always available on the same knob when you switch between the Master, Group, and
Sound level (but not if you switch to another Sound or Group, of course).
Macro Control Shortcut on the Controller

On your controller, a dedicated button allows you to quickly access your Macro Controls at any
time:
Press MACRO to directly switch to the Macro Controls of the focused channel (Sound, Group or
Master).
12.3.2 Assigning Macro Controls Using the Software

Macro Controls can be assigned in two different ways. The quickest and easiest way is to cre-
ate a Macro Control directly from a parameter. The other more elaborate method is to use the
Pages Pane in the Assignment Area.
Assigning Macro Controls from Parameters

Assigning a parameter as a Macro from a Channel or Plug-in properties is quick and easy. You
can simply right-click ([Ctrl]-click on macOS) a parameter name and select which Macro level
you want to assign it to.
To assign a Macro Control directly from a parameter:
1. Select Channel or Plug-in icon depending on where the parameter you want to assign is
situated.
2. Select the level where the parameter is, this can be on the MASTER, GROUP or SOUND
level.
3. Right-click ([Ctrl]-click on macOS) the name of the parameter (the text below the knob,
switch, or menu) you want to assign and select either Create Master Macro, Create Group
Macro, or Create Sound Macro depending on the options available, and to which level you
want to assign the parameter as a Macro Control.

⇨ The parameter is assigned as a Macro and you can see your assignments by selecting
Macro in the Channel properties and selecting the Macro level (MASTER, GROUP or
SOUND) where you assigned the Macro Control.
4. To remove a Macro, right-click the parameter again and select Remove Macro.
→ The selected Macro is removed.
Assigning Macro Controls Using the Pages Pane

Assigning Macro Controls is done in the Pages pane of the Assignment area when the Macro
properties are selected. The procedure is similar to the procedure used when assigning param-
eters of VST/AU plug-ins to Parameter pages in MASCHINE (see section ↑7.3.3, Setting Up
Your Own Parameter Pages).
Opening the Pages Pane in the Assignment Area

First of all, you need to open the Pages pane of the Assignment area for Macro properties. To
do this:
1. Select the Macro properties of the desired channel (Sound, Group, or Master) as descri-
bed in section ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in
the Control Area.
3. Click the Pages tab in the left part of the Assignment area:
→ The Pages tab lights up and the Pages pane appears on its right. You are now ready to
assign Macro Controls to parameters.

Once the Assignment area is open, when you switch to other Parameter pages the Assignment area
follows your selection: it always shows the assignments for the page currently displayed above.
The Pages tab can be clicked only for Plug-ins, External MIDI device Control Change assignments,
and for Macro properties. For all other Plug-ins and Channel properties, parameters and Parameter
pages are not editable, and the Pages tab is grayed out and inactive. For more information on how
to assign parameters of Native Instruments or External Plug-ins to Parameter pages, please refer to
↑7.3.3, Setting Up Your Own Parameter Pages.
When the Pages pane of the Assignment area is open, you also notice a few changes in the
Control area above.
1 2 3
7 6 5 4
The Control area with Macro Properties displayed and the Pages pane active in the Assignment area underneath.
(1) Delete Page button (“x” symbol): Click the little “x” after a page name to delete this Parame-
ter page.
(2) Add Page button (“+” symbol): Click the little “+” after the last page label to append a new
page. By default, pages are labeled “Page 1,” “Page 2,” etc. You can change page labels by
defining sections within your pages via the Section Label fields (3).
(3) Section Label fields: These fields allow you to define sections of parameters within the dis-
played page. Double-click the field above the first parameter you want to include in the sec-
tion, type the desired name for the section, and press [Enter] to confirm. The new section will

include all following parameters until the next section starts (this can be seen only after you
have closed the Assignment area). Moreover, the Parameter page will mirror the label(s) of its
section(s) — if there are more than one section, the page label will mirror all of them, separat-
ed by slashes.
(4) Reset button: Click Reset to remove the Macro Control assignment for the selected knob.
(5) Parameter Label fields: Double-click these fields to enter custom labels for your parameters
(press [Enter] to confirm). These labels will be mirrored everywhere in MASCHINE for the cor-
responding parameters.
(6) Focus frame: Indicates the Macro Control being assigned. Click any Macro Control to display
and edit its assignment in the Target selector below (4).
(7) Target selector: Displays and selects the target parameter of the selected Macro Control in-
dicated by the Focus frame (5). This multi-level drop-down widget allows you to quickly navi-
gate through the structure of the channel to the desired parameter. The detailed procedure is
explained in the next paragraph.
Selecting a Parameter in the Target Selector

The Target selector (see picture above) allows you to choose from all available parameters for
each Macro Control.
The Target selector allows you to quickly select the desired parameter.
This tool is similar to a menu containing several levels of submenus—with the notable differ-
ence that every intermediary selection stays visible for faster switching.
When assigning a new, unassigned Macro Control, do the following:
1. Click the Select menu (for now the only menu of the Target selector).
The menu is organized into subcategories: Settings (listing the properties of the current
channel), Slots (listing the Plug-ins loaded in the current channel), and possibly a third
category listing the channels included at the next level: if you’re editing the Macro proper-

ties of the Master you will see the Groups subcategory listing all Groups of your Project,
and if you are editing the Macros of a Group you will see the Sounds subcategory listing
all Sounds in that Group, and if you are editing the Macro properties of a Sound you will
see the MIDI menu item which upon selection lists all available Control Change messages
that can be assigned to a Macro Control.
The Macro Control menu item Select > MIDI lists the full range of MIDI Control Change messages
from 0-127 which can be individually assigned to a Macro Control in order to control parameters on
an external MIDI device. If you are unsure which MIDI Control Change message can be used to con-
trol a particular parameter, please check the documentation that came with your MIDI device for
details.
2. Upon your selection in the previous menu, the menu takes the name of your selection,
and another menu may appear to the right which allows you to refine your search (e.g., by
listing all Parameter pages of the selected Plug-in or Channel properties). This continues
until a parameter is reached and you select it.
→ Upon the selection of a parameter, the Macro Control is assigned to this parameter.
Note that the whole path to this parameter stays visible in the Target selector: this lets you
modify a single selection without starting from the topmost channel and going through the en-
tire selection process again:
► To modify a particular item in the selection shown by the Target selector, click it and se-
lect another item for that level.
→ Items on the left of the selected item (i.e. at a higher level) stay untouched, while items
on its right (i.e. at a lower level) are reset.
Macro Assignment – Context Menu

When the Assignment area is opened and the Pages tab is selected, right-click on an assigned
or unassigned Macro slot to access the context menu.

The Macro properties context menu.
The context menu contains following items:

Rename Rename the Macro. Ctrl + R / Cmd + R
Reset Reset the Macro.
Cut Cut the Macro to paste it in another Ctrl + X / Cmd + X
position.
Copy Copy the Macro. Ctrl + C / Cmd + C
Paste Paste a cut or copied Macro to a new Ctrl + V / Cmd + V
position.
Assignment Area Pages – Context Menu

When the Assignment Area is opened and the Pages tab is selected, right-click on a Page
opens a context menu.

The Control Area Assignment Pages context menu.
The context menu contains the following items:

Delete Deletes current Page with all
assignments.
Clear All Clears all the assignments, and
deletes all of the Pages.
12.3.3 Assigning Macro Controls Using the Controller

Assigning and unassigning parameters as Macros from the Channel or Plug-in properties using
the controller is quick and easy.
Assigning a Macro Using the Controller

To assign a Macro Control directly from a parameter using the controller:
1. Select CHANNEL or PLUG-IN depending on where the parameter you want to assign is
situated.
level.
3. Press SHIFT + MACRO (Set) and touch the Knob underneath the parameter you want to
assign.

→ The parameter is assigned as a Macro and a small icon will appear next to the parameter
name.
You can see the Macro assignments for each level by pressing the MACRO button on your con-
troller and selecting the Macro level (MASTER, GROUP or SOUND).
Macro Controls are saved with a MASCHINE Project, so don’t forget press SHIFT + FILE (Save)
once you have assigned all your Macros.
Unassigning a Macro Using the Controller

To unassign a parameter from the Macro Controls:
1. Select Channel or Plug-in icon depending on where the parameter you want to unassign is
situated.
level.
3. Enter Set Macro mode by pressing SHIFT + MACRO (Set).
4. Simply touch the Knob of the assigned parameter to remove it from the Macro Controls.
→ The icon next to the name of the parameter is removed and the parameter is unassigned.

Controlling Your Mix
Mix View Basics
13 Controlling Your Mix
The default view of the MASCHINE software is the Arrange view, which contains the Arranger
at the top, the Control area in the middle, and the Pattern Editor / Sampler Editor at the bot-
tom. The Arrange view is best suited to organize your melodies and rhythms in the timeline:
With it you can for example finely tailor your Patterns for each of your Groups in the Pattern
Editor, and put them together as Clips in the Arranger to build a complete song.
The Mix view is the other main view of MASCHINE. Instead of focusing on the time-dependent
aspects of your Project, it gives you quick access to the level and routing settings of all your
Sounds, Groups, and the Master. In addition, it provides you with an intuitive interface for ad-
justing the parameters of all your Plug-ins.
The Mix view can come in handy at various stages of your work, e.g., when building custom
drum kits, setting up send effects, creating advanced routings… and, last but not least, during
live performances.
13.1 Mix View Basics

This section describes the basic operation of the Mix view.
Mix View vs. Arranger Views

It is important to note that the Mix view does not provide any additional settings that are not
available in Arrange view. In other words, every action done in Mix view can also be done in the
Arranger views (Ideas view and Song view). The purpose of the Mix view is rather to organize
the information and settings in a different way that is better suited for particular workflows,
notably those involving levels and routings.
In the rest of the chapter, for each procedure in Mix view we will quickly mention the equiva-
lent procedure in Arrange view or point to the corresponding description in this manual.
13.1.1 Switching between Arrange View and Mix View

You can switch the MASCHINE software at any time between the Arranger views (Ideas view
and Song view) and Mix view:

Mix View Basics
The Mix View button.
► Click the Mix View button at the top left of the Arranger to switch between the Arrange
views and the Mix view.
► Press the MIXER button to display Mix view on the controller. Press the MIXER button
again to return to the previous view.
13.1.2 Mix View Elements

When you switch the MASCHINE software to Mix view, the Arranger, the Control area, and the
Pattern Editor disappear and are replaced with the following three elements:

Mix View Basics
The Mix view, with the Mixer (1) at the top, the Plug-in Chain (2) in the middle, and the Plug-in Strip (3) at the bottom.
(1) Mixer: At the top, the Mixer shows you at a glance the level and routing settings for all
Sounds of the focused Group, or all Groups in your Project. You can change these settings on
the fly, select or put the focus on any channel, etc. At the far right you can control the settings
for the parent channel — the Group channel if the Mixer displays Sound channels, or the Mas-
ter/Cue channel if the Mixer displays Group channels. See section ↑13.2, The Mixer for a de-
tailed description.
(2) Plug-in Chain: In the middle, the Plug-in Chain lists all Plug-ins loaded in the focused
channel (Sound, Group, or Master). See section ↑13.3, The Plug-in Chain for a detailed de-
scription.
(3) Plug-in Strip: At the bottom, the Plug-in Strip displays the series of Plug-ins loaded in the
focused channel (Sound, Group, or Master). You can directly adjust the parameters of each
Plug-in in its own interface. See section ↑13.4, The Plug-in Strip for a detailed description.

The Mixer
13.2 The Mixer

Sitting in the top part of the Mix view, the Mixer is ideal to quickly see and adjust the level and
routing settings of different channels in one go.
The Mixer in the MASCHINE software.
The Mixer provides a classic mixing desk layout containing a certain number of channel strips.
The particular channel strips displayed along with their precise layout depend on the following:

The Mixer
▪ Which of the Sound or Group level is selected for displaying: ↑13.2.1, Displaying Groups
vs. Displaying Sounds.
▪ Whether the Mixer is minimized or not, and which sections are enabled for display:
↑13.2.2, Adjusting the Mixer Layout.
13.2.1 Displaying Groups vs. Displaying Sounds

The Mixer provides two display modes, allowing you to focus on the current context:
▪ Group level: The Mixer shows channel strips for all Groups of your Project.
▪ Sound level: The Mixer shows channel strips for all Sound slots in the focused Group.
Both display modes are described in the following paragraphs.
If the MASCHINE window is too small to display all channel strips, an horizontal scroll bar ap-
pears at the bottom of the Mixer to navigate to the hidden channels.
If necessary, use the scroll bar to show hidden channels.
Whether the scroll bar appears or not, the output strip at the far right of the Mixer is always visible.
Mixer Displaying the Group Level

The Mixer can display all Groups at once:
1
2
3

The Mixer
In this mode the desk’s input strips (1) represent all Groups of your Project, while the output
strip at the far right (2) represents the Master/Cue channel. At the top of the Mixer you see the
headers of all your Groups and of the Master/Cue channel (3). The focused channel is high-
lighted.
Mixer Displaying the Sound Level

The Mixer can alternatively display the Sounds slots of a particular Group:
3
4
1 2
In this mode the desk’s input strips (1) represent all Sounds of the focused Group, while the
output strip at the far right (2) represents that focused Group. At the top of the Mixer you see
two rows:
▪ The first row (3) contains the headers of all your Groups and of the Master/Cue channel.
The header of the focused Group (or of the Master/Cue at the far right) is highlighted.
▪ The second row (4) contains the headers of the Sound slots in the focused Group. The
header of the focused Sound slot (or of the parent Group at the far right) is highlighted.
Switching the Mixer Between Group and Sound Level

At any time you can switch between both display modes:
► To switch the Mixer display between all Groups of your Project and all Sound slots in a
particular Group, double-click the background of any Group header at the top of the Mix-
er.

The Mixer
→ If the Mixer was displaying Sound strips beforehand, it will display all Group strips in-
stead, and the Group you have double-clicked will be focused. If the Mixer was displaying
Group strips beforehand, it will instead display all Sound strips of the Group that you have
double-clicked. The last focused Sound slot in that Group will be focused again.
Make sure that you double-click in the header background and not on the number or letter+number
in the top left corner of the header — instead of switching the Mixer between both views this would
mute/unmute the Group channel in question!
13.2.2 Adjusting the Mixer Layout

No matter which of the Group or Sound level is currently displayed in the Mixer, you can adjust
its layout as described below in order to focus on your current task.
Maximizing/Minimizing the Mixer

You can minimize/maximize the Mixer so that it shows only the Group and Sound headers or
the entire channel strips:
► Click the arrow button at the bottom left of the Mixer to show and hide the channel de-
tails in the Mixer.
Minimizing/maximizing the Mixer.
When the Mixer is minimized, the channel strips are shrinked to their headers:
A channel strip in the minimized Mixer.

The Mixer
Showing/Hiding Particular Sections of the Strips

Both when displaying all Group channels or all Sound channels of a particular Group, the Mix-
er allows you to select which sections you want to show or hide in the strips currently dis-
played. This is done via the three buttons on the left of the Mixer, under the arrow expanding
the Mixer:
Choosing what to display in the channels.
From top to bottom:

▪ IO button: Click it to show/hide the input and output settings (both MIDI and audio) in the
channel strips.
▪ Plug-in icon: Click it to show/hide the Plug-in Lists in the channel strips.
▪ AUX button: Click it to show/hide the auxiliary output settings in the channel strips.
The settings for the main audio output are always visible, even if the IO button is disabled.
For a detailed description of the settings available in the channel strips, see section ↑13.2.5,
Adjusting Settings in the Channel Strips below.
13.2.3 Selecting Channel Strips

Since the Mix view is just another way of displaying and accessing MASCHINE channels, se-
lection and focus work similarly in the Mixer as in the Arrange view:
▪ To set the focus to a particular channel (Sound or Group), click the background of its head-
er in the top two rows of the Mixer (upper row for Groups and the Master/Cue, lower row for
Sounds, if visible) or use the usual commands on your controller (see section ↑3.3.7, Fo-
cusing on a Group or a Sound). The header of the focused channel is highlighted.
▪ Setting the focus to a particular channel strip in the Mixer will automatically set the focus
to the corresponding Sound, Group, or the Master in Arrange view, and inversely.

The Mixer
▪ When the Mixer displays the Sound strips of a Group, when you click another Group header
in the top row the Mixer will stay at the Sound level and directly display to the Sound strips
of this other Group.
▪ You can select more than one channel strip among the strips displayed. The focused strip
is always selected. The multiple selection follows the same rules as in Arrange view (see
section ↑5.1.3, Selecting Multiple Sounds or Groups).
Whichever channel strip is focused, the Plug-in Strip at the bottom of the Mix view shows the Plug-
ins loaded in that particular channel (see section ↑13.4, The Plug-in Strip).
13.2.4 Managing Your Channels in the Mixer

The Mixer provides the same Sound and Group management commands as the Arrange view,
with similar procedures. Most of them are available via the channel’s context menu:
► To open the channel’s context menu, right-click ([Ctrl]-click on macOS) the background of
the channel header:
Opening the context menu of a channel automatically sets the focus on that channel.

The Mixer
The channel’s context menu provides the exact same entries as in Arrange view.
Following management commands are available in the Mixer:
Management Command Action

Renaming channels Double-click the channel name in the header, type the desired
name on your computer keyboard, and press [Enter] to confirm
(or [Esc] to cancel). You can also open the channel’s context
menu and select Rename.
See section ↑5.2.3, Renaming Sound Slots and ↑5.3.3,
Renaming Groups.
Changing the channel’s Open the channel’s context menu and select Color.
color
See section ↑5.2.4, Changing the Sound’s Color and ↑5.3.4,
Changing the Group’s Color.
Copying/pasting channels Open the channel’s context menu and select Copy or Paste.
See section ↑5.2.6, Copying and Pasting Sounds and ↑5.3.6,
Copying and Pasting Groups.
Resetting Sound channels Open the Sound channel’s context menu and select Reset.
See section ↑5.2.8, Resetting Sound Slots.
Deleting Group channels Open the Group channel’s context menu and select Delete.
See section ↑5.3.8, Deleting Groups.
Saving channels Open the channel’s context menu and select Save As….
See section ↑5.2.5, Saving Sounds and ↑5.3.5, Saving Groups.
You cannot move Sounds and Groups via drag and drop in the Mixer. This is only possible in Ar-
range view — see section ↑5.2.7, Moving Sounds and ↑5.3.7, Reordering Groups for more details.

The Mixer
13.2.5 Adjusting Settings in the Channel Strips

The layout of Sound and Group strips is close to that of a classical mixing desk. The signal
travels from top to bottom: from the input routing settings at the top, it passes through the var-
ious Plug-ins loaded in the channel, then goes through the pan and level controls, and finally
arrives to the output routing settings at the bottom.
The settings available in each channel strip mirror most of the parameters found in the Chan-
nel properties displayed in the Control area of the Arrange view, allowing you to adjust them in
a more intuitive and visual way (see the list of available parameters at the end of this section).
Adjusting Settings on the Fly

The Mixer provides an interesting feature not available in Arrange view: You can quickly
change the settings in any channel strip currently displayed without having to put the channel
under focus beforehand: Simply click the desired setting in any of the displayed channel strips
to modify it — the current selection/focus will stay untouched.
Tip: Use the Parent Channel Strip at the Far Right

In both display modes of the Mixer, the rightmost channel strip (the “output” strip of the mix-
ing desk) represents the parent channel:
▪ If the Mixer currently shows all Groups, the rightmost strip represents the Master (or Cue)
channel.
▪ If the Mixer currently shows the Sounds of the focused Group, the rightmost strip repre-
sents that Group.
In particular, at the Sound level this allows you to quickly check the level and adjust the set-
tings of the parent Group without having to switch the Mixer display to the Group level.
For example, if a kick drum is too loud in a drum kit, while decreasing its level you can check at the
far right how your change affects the overall Group level — and you can quickly adjust this Group
level if needed.

The Mixer
Available Settings in Sound/Group Channel Strips

We list here all the elements available in a full channel strip. For each element we indicate the
basic operation and the corresponding parameter in Arrange view.
If some of the settings are not visible, check that the Mixer is not minimized and that the relevant
button is enabled at the left of the Mixer — see section ↑13.2.2, Adjusting the Mixer Layout for
more information.
1
2
3
4
7
8
A complete channel strip in the Mixer (Sound on the left, Group and Master on the right).
(1) Header: Displays the name and index (letter + number) of the Group or number of the
Sound. Headers in the Mixer’s top row are for Groups, headers in the second row (Sound level
only) are for Sounds. If the rest of a channel strip is currently not visible, its header additional-
ly shows a mini level indicator in its top right corner. Following actions are available:

The Mixer
▪ Switch the Mixer display between Sounds and Groups (see section ↑13.2.1, Displaying
Groups vs. Displaying Sounds).
▪ Focus/select particular channels (see section ↑13.2.3, Selecting Channel Strips).
▪ Rename the channel: Double-click its current name, type a new name on your computer
keyboard, and press [Enter] to confirm (or [Esc] to cancel). You can also use the Rename
entry in the channel’s context menu.
▪ Other management commands: Right-click ([Ctrl]-click on macOS) the header background
to open the channel’s context menu (see section ↑13.2.4, Managing Your Channels in the
Mixer).
(2) Audio input settings (Sound strips only): Allows you to adjust the audio input routing. Visible
only if the IO button is enabled on the left of the Mixer. Click the AUDIO IN label to select an
audio input, and adjust its level via the little knob on the left. These controls are equivalent to
the Source and Gain parameters in the Audio page of the Sound’s Input properties. See sec-
tion ↑12.1.1, Sending External Audio to Sounds for more information.
(3) MIDI input settings: Allows you to adjust the MIDI input routing. Visible only if the IO button
is enabled on the left of the Mixer. Click the MIDI IN label to select a MIDI input port, then
select a channel via the little menu on its right. These controls are equivalent to the Source
and Channel selectors in the MIDI page of the Sound’s and Group’s Input properties, respec-
tively. See section ↑12.2.1, Triggering Sounds via MIDI Notes for more information.
(4) Plug-in List: Shows the Plug-ins loaded in the channel. Visible only if the Plug-in icon is
enabled on the left of the Mixer. Following actions are available:
▪ Click the little “+” symbol to open the Plug-in menu and load a new Plug-in at the end of
the list.
▪ Right-click (macOS: [Ctrl]-click) an existing Plug-in to replace it with another Plug-in or to
remove it (to do this, select None in the menu).
▪ Click a Plug-in name to select it. If this Plug-in is currently hidden in the Plug-in Strip un-
der the Mixer, it automatically scrolls to show the interface of that Plug-in (see section
↑13.4, The Plug-in Strip).
▪ Click the little square left of a Plug-in to bypass it (the bypassed Plug-in is grayed out) or
re-insert it in the signal chain.
▪ Drag and drop Plug-ins to move them across the list.

The Mixer
This Plug-in List is the exact equivalent of the Plug-in List in the Control area of the Arrange
view. For all details, see section ↑7.1, Plug-in Overview.
(5) Fader section: Allows you to adjust the channel’s level, panoramic position, Mute and Cue
state. Following actions are available:
▪ Drag the fader vertically to adjust the level of the channel. This is equivalent to the Level
parameter in the Audio page of the channel’s Output properties (see ↑12.1.2, Configuring
the Main Output of Sounds and Groups). Additionally, the level meter shows you at any
time the level of the channel. The peak level value appears in gray above the level meter
and fader. If this peak value exceeds zero, it turns white to indicate clipping; click the val-
ue to reset it.
▪ Drag the little horizontal slider at the top to adjust the panoramic position of the channel in
the stereo field. This is equivalent to the Pan parameter in the Audio page of the channel’s
Output properties (see ↑12.1.2, Configuring the Main Output of Sounds and Groups).
▪ Click the Mute button to mute the channel, or right-click ([Ctrl]-click on macOS) it to mute
all other channels (Solo function). See section ↑6.3.1, Mute and Solo for more information.
▪ Click the little headphones button to send the channel to / remove it from the Cue bus. This
is equivalent to the Cue parameter in the Audio page of the channel’s Output properties.
See section ↑13.2.6, Using the Cue Bus for more information.
(6) Main audio output menu: Selects the destination of the channel’s main audio output. By de-
fault Sound channels are output to their parent Group, Group channels are output to the Mas-
ter, and the Master is output to the first stereo pair of outputs. Click the label to select another
destination. This control is equivalent to the Dest. selector in the Audio page of the Output
properties for the Sounds and Groups (see ↑12.1.2, Configuring the Main Output of Sounds
and Groups) and for the Master (see ↑12.1.4, Configuring the Master and Cue Outputs of MA-
SCHINE).
(7) Aux routing settings: Allows you to adjust the routing for both auxiliary outputs. Visible only
if the AUX button is enabled on the left of the Mixer. Click the AUX 1 or AUX 2 label to select
a destination for this aux output, adjust its level via the little knob on the right, and choose its
pre/post tapping point by clicking the Post or Pre label. These controls are equivalent to the
Dest., Level, and Order parameters in the Aux page of the Sound’s and Group’s Output proper-
ties, respectively (see ↑12.1.3, Setting Up Auxiliary Outputs for Sounds and Groups).

The Mixer
(8) MIDI output settings (Sound strips only): Allows you to select a MIDI output. Visible only if
the IO button is enabled on the left of the Mixer. Click the MIDI OUT label to select a MIDI
output port, then select a channel via the additional menu on the right. These controls are
equivalent to the Dest. and Channel selectors in the MIDI page of the Sound’s Output proper-
ties (see ↑12.2.5, Sending MIDI from Sounds).
Parameter modulation is not indicated in the Mixer. As a consequence, the value of modulated pa-
rameters might change even if their control elements stay at a fixed position in the Mixer. For exam-
ple, if the fader of a channel strip is fully down but the channel level is being modulated, the chan-
nel’s actual level might temporarily exceed the fader position, leading to an audible signal (and visi-
ble meter activity!) although the fader is fully down. In Arrange view, on the other hand, the Control
area indicates the modulation of continuous parameters via the ring around their knob. See section
↑11.5, Recording and Editing Modulation for more on modulating parameters.
Available Settings in the Master and Cue Channel Strips

The Master and the Cue channel strips are similar to the Sound/Group channel strips described
above, except for the following elements (numbers refer to the picture in the previous para-
graph):
▪ The Mute button in the Fader section (5) is not available.
▪ The audio input settings (2) and MIDI input settings (3) are not available.
▪ The aux routing settings (7) and MIDI output settings (8) are not available.
▪ There is no Plug-in List (4) in the Cue channel strip.
13.2.6 Using the Cue Bus

MASCHINE provides a dedicated Cue bus. This Cue bus allows you to route any channel
(Sound or Group) on a separate output while leaving the main MASCHINE output untouched.
For example, you can use it to prepare any Sound or Group in your headphones during a live
session: first send the empty channel to the Cue bus, then load the desired Sound or Group
from the Browser (or create one from scratch), add any Plug-ins, adjust any parameters in that
channel, record Patterns for that Group as you see fit, and when you are ready, insert it back
into your performance!
The Cue bus is also used for following features:
▪ Pre-listening to Samples in the Browser (see section ↑4.3.3, Auditioning Samples).

The Mixer
▪ Metronome (see section ↑11.2.3, Using the Metronome).

▪ Pre-listening functions in the Sample Editor when recording (see section ↑17.2.2, Select-
ing the Source and the Recording Mode) or slicing Samples (see section ↑17.4, Slicing a
Sample).
Sending Sound and Group Channels to the Cue Bus

► In any channel strip, click the little headphones button to send this channel to the Cue
bus.
→ The headphones button lights on. The channel is not sent to its defined destination any-
more but instead to the Cue bus.
To remove the channel from the Cue bus and send it back to its normal destination defined in
its output settings, simply click again on the headphones button.
You can send any number of Sound and Group channels to the Cue bus simultaneously.
In Arrange view, the equivalent of the headphones button is the Cue switch found on the Audio
page of the Sound’s and Group’s Output properties (see section ↑12.1.2, Configuring the Main Out-
put of Sounds and Groups).
The mute and solo of channels don’t apply when these channels are sent to the Cue bus: What is
sent to the Cue bus is always played back via the Cue channel, regardless of the original channel
being muted or not.
Adjusting the Cue Channel in the Mixer

All signals on the Cue bus arrive on the Cue channel strip. You can display the Cue channel
strip in the Mixer as follows:
1. Click the header of the Master/Cue strip in the top right corner of the Mixer.
If the Mixer was showing Sound channels, it switches to the Group level. The Master/Cue
channel strip appears and is put under focus.

The Plug-in Chain
2. Click the headphone icon in the Master header.
→ The Master channel strip switches to the Cue channel strip. Here you can adjust the Cue
channel’s level and panoramic position, along with the destination you want to send the
Cue channel to. As destination, choose for example another output pair into which you
will have plugged your headphones. These settings are described in section ↑12.1.4, Con-
figuring the Master and Cue Outputs of MASCHINE.
13.3 The Plug-in Chain

In the middle of the Mix view, right under the Mixer, you see an horizontal bar listing all Plug-
ins loaded in the focused channel: the Plug-in Chain. In the Plug-in Chain, Plug-ins are ar-
ranged into an horizontal series, the audio travelling from left to right through each Plug-in of
that channel.
A Plug-in Chain with the Compressor selected and the EQ bypassed.
Except for its horizontal layout, the Plug-in Chain has the same functionality as the Plug-in
List found in the channel strips of the Mixer above — namely to organize the Plug-ins of that
channel:
▪ Click a Plug-in name to select it. If this Plug-in is currently hidden in the Plug-in Strip un-
derneath, it automatically scrolls to show the interface of that Plug-in.
▪ Click the little “+” icon at the end of the chain and select a Plug-in in the Plug-in menu to
load it at the end of the chain, or right-click (macOS: [Ctrl]-click) a Plug-in name to re-
place this Plug-in with another one. See section ↑7.1.3, Loading, Removing, and Replacing
a Plug-in for more information.

The Plug-in Strip
▪ Click the little square on the left of a Plug-in name to bypass this Plug-in slot (bypassed
slots are grayed out). Click the little square again to unmute the Plug-in slot and insert the
Plug-in back into the processing chain. See section ↑7.1.5, Bypassing Plug-in Slots for
more information.
▪ Right-click (macOS: [Ctrl]-click) a Plug-in name and use the Open…, Save As…, and Save
As Default… (Native Instruments and External Plug-ins only) commands to manage your
Plug-in presets. See section ↑7.1.9, Saving and Recalling Plug-in Presets and ↑7.3.4, Us-
ing VST/AU Plug-in Presets for more information.
You cannot move Plug-ins within the Plug-in Chain. To do this, use for example the Plug-in List in
the channels of the Mixer above (see the Plug-in List description in section ↑13.2.5, Adjusting Set-
tings in the Channel Strips).
13.4 The Plug-in Strip

In the lower part of the MASCHINE window, the Mix view provides an intuitive representation
of all Plug-ins loaded in the channel (Sound, Group, or Master) currently under focus: the Plug-
in Strip. The Plug-in Strip shows the loaded Plug-ins as a series of Plug-in panels, each Plug-in
having its own panel.
As in the little Plug-in Chain above, the Plug-ins are arranged into an horizontal series, the au-
dio travelling from left to right through each Plug-in of that channel.
The Plug-in Strip of a channel, with a distinct interface for each Plug-in.
In the Plug-in Strip the Plug-in panels vary with the type of Plug-in (Internal, Native Instru-
ments or External):

The Plug-in Strip
▪ For all types of Plug-ins, the panel shows a Plug-in Header at the top: ↑13.4.1, The Plug-in
Header.
▪ Internal Effects and Drumsynths have their own custom panels: ↑13.4.2, Panels for Drum-
synths and Internal Effects.
▪ The Sampler Plug-in has a special, extended panel: ↑13.4.3, Panel for the Sampler.
▪ Native Instruments Plug-ins provide dedicated panels inspired from the user interface of
each particular Native Instruments product: ↑13.4.4, Custom Panels for Native Instru-
ments Plug-ins.
▪ Native Instruments and External Plug-ins can also be undocked and opened in a floating
window: ↑13.4.5, Undocking a Plug-in Panel (Native Instruments and External Plug-ins
Only).
Navigating the Plug-in Strip

If the MASCHINE window is not wide enough for all your Plug-in panels to be displayed in the
Plug-in Strip to be displayed entirely, click the name of the desired Plug-in in the Plug-in
Chain above to make the Plug-in Strip scroll to its panel:
Click a Plug-in in the Plug-in Chain to display its panel in the Plug-in Strip below.
If the MASCHINE window is not wide enough for all Plug-in panels to be displayed at once, an
horizontal scroll bar appears at the bottom of the Plug-in Strip to display the hidden part.

The Plug-in Strip
Use the horizontal scroll bar to display the other Plug-in panels.
If the MASCHINE window is not high enough for any Plug-in panel to be displayed entirely, a
vertical scroll bar appears on the right of the panel to display the hidden part:
Use the vertical scroll bar to display the rest of the Plug-in.
13.4.1 The Plug-in Header

For all types of Plug-ins (Internal, Native Instruments, and External) the Plug-in panel displays
a Plug-in Header at the top:

The Plug-in Strip
2 3 4
1
The Plug-in Header at the top of the Plug-in panel.
The Plug-in Header can contain following elements, from left to right:
(1) Open Plug-in Window button (Native Instruments and External Plug-ins only): Click the little
arrow icon to open/close the Plug-in interface in an external window. See section ↑13.4.4,
Custom Panels for Native Instruments Plug-ins for more on this.
(2) Additional View button (specific Native Instruments Plug-ins only): Some Native Instruments
Plug-ins provide two different views in their panel. Click the little “+” to switch between De-
fault view and Additional view. See section ↑13.4.4, Custom Panels for Native Instruments
Plug-ins for more on this.
(3) Preset name: Shows the name of the preset currently loaded, if any.
(4) Quick Browse button: Click the magnifying glass to run the Quick Browse function and recall
in the Browser the search query you performed to get to the loaded preset.

The Plug-in Strip
13.4.2 Panels for Drumsynths and Internal Effects

For Drumsynths and Internal Effects, the panels in the Plug-in Strip provide intuitive visual
representations of the Plug-ins and their parameters.
The Plug-in panel of a Drumsynth and two Internal Effects.
As with all other Plug-ins, the panels for Drumsynths and Internal Effects show the Plug-in
Header at the top. This Header contains the name of the current preset and the Quick Browse
icon — see section ↑13.4.1, The Plug-in Header above for more details.
Although parameters are organized differently than in the Parameter pages of the Arrange view,
the panels for Drumsynths and Internal Effects contain the exact same parameters as the Pa-
rameter pages in Arrange view.
The only exceptions are the Compressor, the Gate, and the Limiter: their panels contain an addi-
tional level meter not available in the Control area (gain reduction for the Compressor, and input
level for the Gate and the Limiter).

The Plug-in Strip
For an exhaustive description of the parameters available in each panel, please refer to chapter
↑9, Using the Drumsynths for Drumsynths and chapter ↑15, Effect Reference for Internal Ef-
fects.
Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the val-
ue of modulated parameters might change even if their control element doesn’t move in the panel.
See section ↑11.5, Recording and Editing Modulation for more on modulating parameters.
13.4.3 Panel for the Sampler

For the Sampler, the Plug-in Strip provides a custom panel containing a judicious mix of pa-
rameters available in the three first pages of the Control area along with parameters available
in the Zone page of the Sample Editor.
As with all other Plug-ins, the panel for the Sampler shows the Plug-in Header at the top. This
Header contains the name of the current preset and the Quick Browse icon — see section
↑13.4.1, The Plug-in Header above for more details.
The Sampler panel contains two distinct panes: MAIN and ZONE. These can be displayed by
clicking the MAIN and ZONE button in the Pane selector at the top of the Sampler interface,
respectively.
Parameter modulation is not indicated in the panel for Internal Plug-ins. As a consequence, the val-
ue of modulated parameters might change even if their control element doesn’t move in the panel.
See section ↑11.5, Recording and Editing Modulation for more on modulating parameters.

The Plug-in Strip
Sampler – MAIN Pane
7 3
4
6 5
The Sampler in the Plug-in Strip.
(1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in.
(2) Sample waveform: Shows the waveform or the Sample used in the selected Zone. It provides
the same features as the waveform found in the Sample view of the Zone page in the Sample
Editor: Start and End markers, zooming, etc. For more details, see section ↑17, Sampling and
Sample Mapping.
(3) VOICE & ENGINE section: Allows you to adjust the Polyphony, Glide, and Mode parameter
from the Voice Settings / Engine page in the Control area, and the Reverse button from the
Pitch/Envelope page in the Control area. For more details, see section ↑7.2.1, Page 1: Voice
Settings / Engine and ↑7.2.2, Page 2: Pitch / Envelope, respectively.

The Plug-in Strip
(4) AMP ENVELOPE section: Allows you to adjust the Type parameter and the envelope parame-
ters from the Pitch/Envelope page in the Control area. For more details, see section ↑7.2.2,
Page 2: Pitch / Envelope.
(5) SATURATION, LO FI, and FILTER sections: Allows you to adjust the parameters from the FX/
Filter page in the Control area. For more details, see section ↑7.2.3, Page 3: FX / Filter.
(6) TUNE section: Allows you to adjust the Tune parameter from the Pitch/Envelope page in the
Control area. For more details, see section ↑7.2.2, Page 2: Pitch / Envelope.
(7) PLAY and LOOP sections: Allow you to adjust the play range and loop settings of the selected
zone, respectively. These provide the same parameters as the PLAY RANGE and LOOP sections
found in the Zone page of the Sample Editor. For more details, see section ↑17, Sampling and
Sample Mapping.
Sampler – ZONE Pane
4 2

The Plug-in Strip
The Sampler in the Plug-in Strip.
(1) Pane selector: Click MAIN or ZONE to show the corresponding pane in the Plug-in.
(2) Sample Map: Allows you to adjust the key and velocity ranges of your Zones. This the same
as the Map view available in the Zone page of the Sample Editor. For more details, see section
↑17, Sampling and Sample Mapping.
(3) TUNE / MIX and MAP sections: Allow you to adjust the tuning and gain parameters as well as
the key and velocity ranges of your Zones. These are the same as the TUNE and MAP sections
from the Zone page of the Sample Editor. For more details, see section ↑17.5.6, Adjusting the
Zone Settings.
(4) Zone List: Allows you to manage your Zones. This is the same as the Zone List available in
the Zone page of the Sample Editor. For more details, see section ↑17, Sampling and Sample
Mapping.
As with all Internal Plug-ins, parameter modulation is not indicated in the panel for the Sampler. As
a consequence, the value of modulated parameters might change even if their control element
doesn’t move in the panel. See section ↑11.5, Recording and Editing Modulation for more on mod-
ulating parameters.
13.4.4 Custom Panels for Native Instruments Plug-ins

The panels for Native Instruments Plug-ins provide an extra feature: one or two custom views
that group the most important parameters of the Plug-in into a clear and concise interface
while retaining the overall feel and look of each Native Instruments product:
▪ The Default view is available for every Native Instruments Plug-in.
▪ An Additional view, only available for particular Native Instruments Plug-ins, provides an al-
ternate set of controls for the Plug-in.
For example:

The Plug-in Strip
▪ ABSYNTH 5’s Default view shows the main elements of the Perform window of AB-
SYNTH 5:

The Plug-in Strip
▪ MASSIVE’s Default view shows specific parts of the Synth view (the eight Macro Controls at
the top and the Modulation pages underneath):

The Plug-in Strip
▪ GUITAR RIG’s Default view shows a mini Rack with a reduced version of the Global Header
at the top:
As with all other Plug-ins, the panel for Native Instruments Plug-ins shows the Plug-in Header
at the top containing a button for opening the Plug-in in a floating window as well as the name
of the current preset and the Quick Browse icon — see section ↑13.4.1, The Plug-in Header
above for more details.
For Native Instruments Plug-ins providing an Additional view, the Header also contains an Ad-
ditional View button (a little “+” symbol) allowing to switch between Default and Additional
view:

The Plug-in Strip
Click the little “+” in the Header to switch between Default and Additional view.
macOS users: The VST plug-in of a Native Instruments product must be installed for this product’s
Default view (and Additional view, if any) to appear in the Plug-in Strip. If you normally use the AU
version of this Native Instruments product, please check that its VST version is also installed on
your computer to ensure the perfect integration of this plug-in into MASCHINE. You can show/hide
the AU version of Native Instruments plug-ins in the Plug-in menu (software) and Plug-in Browser
(controller) via the Use NI Audio Units checkbox in the Plug-ins page of the Preferences panel —
see section ↑3.7.6, Preferences – Plug-ins Page for more information.
You can also undock any Native Instruments Plug-in and open it in a separate floating window.
In the floating window you can notably switch between the Default view and the full user inter-
face of the original Native Instruments product — see section ↑13.4.5, Undocking a Plug-in
Panel (Native Instruments and External Plug-ins Only) for more information.
13.4.5 Undocking a Plug-in Panel (Native Instruments and External Plug-ins Only)
You can undock the panel of a Native Instruments or External Plug-in and open it in its own
floating window by clicking the little diagonal arrow in the Plug-in Header:
Click the little diagonal arrow to open the Plug-in in a floating window.
► To undock a Native Instruments or External Plug-in and open it in its dedicated floating
window, click the little diagonal arrow on the left of the Plug-in Header.
→ The Plug-in shows up in its own floating window.

The Plug-in Strip
When undocking Native Instruments Plug-ins, their panel in the Plug-in Strip is replaced by a thin
Plug-in placeholder (see below).
Plug-ins of Native Instruments platform products (REAKTOR, KONTAKT, GUITAR RIG) are auto-
matically opened in floating windows when loaded from the Plug-in menu.
MASCHINE will always show the open floating windows of the focused channel (Sound, Group
or Master). In this channel you can have as many open floating windows as you see fit. When
you set the focus to another channel, all open floating windows disappear, possibly replaced by
those for Native Instruments and/or External Plug-ins loaded in the newly focused channel
(Sound, Group or Master).
The Plug-in floating window is the same as in Arrange view — see section ↑7.3.1, Opening/Closing
Plug-in Windows for more on this.
Undocking a Native Instruments Plug-in

When you open a Native Instruments Plug-in its own floating window, following things addi-
tionally happen:
▪ In the Plug-in Strip the Plug-in panel is replaced with a thin vertical Plug-in placeholder
containing only the little diagonal arrow — this allows you to dock the Plug-in back into the
Plug-in Strip (see below).

Controlling Your Mix from the Controller
▪ The floating window also displays the Plug-in Header at the top. In addition to the Header’s
elements described in section ↑13.4.4, Custom Panels for Native Instruments Plug-ins,
this Header contains an additional Edit button (showing a pencil icon) allowing you to
switch to the Edit view, which shows the full interface of the original Native Instruments
product:
Closing the Plug-in’s Floating Window

► To dock a Native Instruments or External Plug-in back into the Plug-in Strip and close its
dedicated floating window, click the little diagonal arrow in the Plug-in placeholder (Na-
tive Instruments Plug-ins) or in the header of the generic Plug-in panel (External Plug-ins)
in the Plug-in Strip.
You can also close any floating window via the common button provided by your operating system at
the top left or right corner of the window. The Plug-in will be inserted back into the Plug-in Strip.
13.5 Controlling Your Mix from the Controller

Your controller provides a dedicated Mix mode. The Mix mode provides an overview of your
channels via a mixing desk layout, similarly to the Mixer in the software’s Mix view (see section
↑13.2, The Mixer).
The Mix mode on your controller and the Mix view in the software are independent from each other:
Switching views in the software does not switch the mode on your controller, and inversely — for
example, you can use your controller in Mix mode while displaying the Arrange view in the software.
► Press MIXER to enter or leave Mix mode on your controller.

When Mix mode is active, the MIXER button is lit.

In Mix mode the displays show channel strips for your Sounds and Groups:
13.5.1 Navigating Your Channels in Mix Mode

Like the Mixer in the software, the Mix mode lets you choose to display channel strips at the
Group level (i.e. all your Groups) or at the Sound level (i.e. all Sound slots of the Group current-
ly focused).
At both levels channels are organized into groups of eight channels (four on each display).
► Use the Page buttons at the left of the displays to show the next/previous eight channels
(Sounds: 1–8 and 9–16; Groups: A1–H1, A2–H2, etc.).
Setting the Focus on a Channel (Sound or Group)

► To put the focus on any of the displayed channels (Sounds or Groups), press the But-
ton 1–8 above the desired strip in the displays.
→ The focused channel is highlighted.

Alternatively you can focus Groups and Sounds by pressing the Group buttons and the pads as
in Control mode. If you set the focus to a Sound or Group not visible on the displays, these
automatically switch to the relevant set of eight channels: for example if you are viewing Sound
channels 1–8 and press pad 11, the displays automatically jump to Sound channels 9–16 in
order to show the Sound slot 11 you just selected.
The focus is strictly equivalent in Mix mode and in Control mode: The Sound or Group focused in
Mix mode will also be focused in Control mode, and inversely.
Mix Mode – Displaying the Group Level

► To display Group channels, push the 4-D encoder upwards.
The channel strips on the displays represent the Groups of your Project. At the top of the dis-
plays you see the headers of all your Groups. The focused channel is highlighted.
Mix Mode – Displaying the Sound Level

► To display the Sound channels of the focused Group, push the 4-D encoder downwards.

The channel strips on the displays represent the Sound slots of the focused Group. At the top
of the displays you see two rows:
▪ The first row contains the headers of your Groups. The header of the focused Group is high-
lighted.
▪ The second row contains the headers of the Sound slots in the focused Group. The header
of the focused Sound slot is highlighted.
If you select another Group (by pressing its Group button), the displays directly switch to the
Sound slots of the newly focused Group.
13.5.2 Adjusting the Level and Pan in Mix Mode

The Mix mode allows you to quickly adjust the level and panoramic position of each of your
channels via Knobs 1–8. To do this:
1. If you want to adjust the level and panoramic position of Groups, switch to the Group view
by pushing the 4-D encoder upwards.
2. If you want to adjust the level of a Sounds, switch to the Sound view by pushing the 4-D
encoder downwards.
3. If you want to adjust the panoramic position of a Sound, press the 4-D encoder and turn
it counterclockwise to pan the Sound to the left or clockwise to pan the Sound to the
right.
4. Use the Page buttons to show the desired channels on the displays. You can also use the
Group buttons and pads of your controller to directly switch to the desired channel.
5. At the bottom of the displays, the selected parameter appears under each channel strip.
6. Turn the desired Knob(s) 1–8 to adjust the displayed parameter in the corresponding
channel(s). You can also use the 4-D encoder to adjust that parameter for the focused
channel.
Hold SHIFT while adjusting a value to make finer adjustments.

In each channel strip the peak value is indicated above the level meter. This peak value is re-
set each time you start the playback via PLAY or RESTART on your controller, or when you
click the corresponding peak value in the software’s Mixer (see section ↑13.2.5, Adjusting Set-
tings in the Channel Strips).
See also
2 Adjusting Settings in the Channel Strips [➙ 660]
13.5.3 Mute and Solo in Mix Mode

When your controller is in Mix mode, pressing MUTE or SOLO doesn’t switch the displays to
the usual Mute or Solo mode: In addition to the usual procedure to mute or solo Groups and
Sounds, you can mute or solo your channels directly in Mix mode. To do this:
1. To mute a channel in Mix mode, press MUTE + the Button 1–8 above the desired chan-
nel(s).
2. To solo a channel in Mix mode, press SOLO + the Button 1–8 above the desired chan-
nel(s).
The strips of muted channels are grayed out in the displays.
Even if the displays don’t switch to Mute or Solo mode, the usual procedures for muting and soloing
Groups and Sounds stay valid in Mix mode. For more information on the Mute and Solo functions,
please refer to section ↑6.3.1, Mute and Solo.
13.5.4 Plug-in Icons in Mix Mode

In Mix mode each channel indicates the presence of Plug-ins by displaying small icons ar-
ranged vertically on the right of the level meter:
Instrument and Effect Plug-ins are represented by different icons (these icons are similar to
those in the Plug-in List of the Arrange view).
On the displays you can see up to seven Plug-in icons in each channel. Any additional Plug-in won’t
be shown.

Using Effects
Applying Effects to a Sound, a Group or the Master
14 Using Effects
At each Project level (Sound, Group and Master) it is possible to add effects in form of Plug-
ins. Each Sound, each Group and the Master can have an unlimited number of insert effects
loaded in their Plug-ins slots. In each Plug-in slot you can load an Internal, Native Instruments
or External Effect Plug-in.
The processing order is always from top to bottom, both in the Plug-in List of the Control area
(in Ideas view and Song view) and in the channel strip of the Mixer (in Mix view). In the Plug-
in Strip of the Mix view the processing order is from left to right.
For Sounds, the first Plug-in slot is often hosting an Instrument Plug-in (Sampler, Drumsynth, Na-
tive Instruments or External Plug-in) — this allows the Sound to generate its own audio. If instead
you plug an effect to the first Plug-in slot of a Sound, this Sound will act as a bussing point for
other Sounds and Groups, and you will find this Sound in the various Dest. selectors in the Output
properties of other Sounds and Groups. See section ↑14.1, Applying Effects to a Sound, a Group or
the Master below for more information.
Most of the features used in the procedures mentioned in this chapter have been already de-
scribed in chapter ↑7, Working with Plug-ins — in MASCHINE, effects are just a certain type
of Plug-ins. Nevertheless, we illustrate them here with various effect-oriented examples. Fur-
thermore, from time to time we will use the Mix view instead of the default Arrange view —
indeed, the intuitive routing facilities of the Mixer make it particularly well suited for quickly
setting up advanced effect routings.
14.1 Applying Effects to a Sound, a Group or the Master

The procedures for applying an effect at the Sound, Group or Master level are very similar.
14.1.1 Adding an Effect

Let’s add an Effect Plug-in somewhere in the Project. We first describe the detailed procedure
in Arrange view, then we will show the equivalent procedure in Mix view.

Using Effects
Choose the Channel in Which the Effect Is to Be Inserted

1. If you want to apply the effect to the Master (to process the audio of the whole Project),
click the MASTER tab in the top left corner of the Control area.
2. If you want to apply the effect to a Group (to process the audio of the whole Group), click
the desired Group on the left of the Arranger, and click the GROUP tab in the top left cor-
ner of the Control area.
3. If you want to apply the effect to a Sound, click its parent Group in the Group List (on the
left of the Arranger), click the desired Sound slot in the Sound List (on the left of the Pat-
tern Editor), and click the SOUND tab in the top left corner of the Control area.

Using Effects
Load the Effect in a New Slot

1. At the far left of the Control area, click the little Plug-in icon to display the Plug-ins of the
selected channel:
The icon lights up. The Plug-in List appears nearby, showing a stack of all Plug-ins al-
ready loaded in the channel:
In the Plug-in List each Plug-in has its own slot.

2. Click the “+” icon under the last Plug-in in the list (or at the top if the list is empty).
The Plug-in menu opens and shows a list of all available Effect Plug-ins.

Using Effects
If you have selected a Sound and its Plug-in List is empty, the Plug-in menu also shows
all available Instrument Plug-ins.
3. Click the desired entry in the list. If you have VST/AU effect plug-ins installed you may
also load them from the menu by selecting the Native Instruments (for Native Instruments
products) or External (for third-party products) submenu at the top of the list.
→ Upon your selection the effect is loaded in a new Plug-in slot at the end of the list and
directly starts to process the audio of the channel. The effect parameters are displayed in
the Parameter area on the right (in the example underneath we selected the Phaser effect
in the Plug-in menu).

Using Effects
Notes and Hints on Loading Effects in the Software

▪ Instead of clicking the “+” icon to load the effect in a new slot, you can also click the
down-pointing arrow on the right of an existing slot to open the Plug-in menu: The effect
selected in the menu will replace the Plug-in currently loaded in that slot.
▪ Instead of using the Plug-in menu, you can also use the Browser to load a particular preset
for an effect. In particular, this can come in handy to insert a new effect between two ex-
isting Plug-ins in the Plug-in List. Please refer to section ↑4.2, Searching and Loading
Files from the Library for more information. Alternatively you can use Quick Browse to re-
call the search query that was used to load a particular Plug-in preset — see section ↑4.8,
Using Quick Browse for more information on this.
▪ For all details on the parameters for each MASCHINE effect, please refer to chapter ↑15,
Effect Reference.
▪ For additional, specific information on VST/AU plug-ins, see ↑7.3, Using Native Instru-
ments and External Plug-ins.
▪ If you created a nice effect setting, you can put it to further use by saving it as a Plug-in
preset. For more details, see ↑7.1.9, Saving and Recalling Plug-in Presets.
Adding an Effect in Mix View

You can also load effects in Mix view. The procedure is quite similar to the one described
above for the Arrange view.
Reminder: To switch the Mixer display between all Groups of your Project and all Sound slots in a
particular Group, double-click the background of any Group header at the top of the Mixer. See sec-
tion ↑13.2.1, Displaying Groups vs. Displaying Sounds for more information.
First, display the Plug-in List in Mix view:

1. Click the Mix View button (showing three little faders) at the left of the Arranger to switch
from Arrange view to Mix view:

Using Effects
2. If it’s not already open, open the extended view of the Mixer by clicking the down-pointing
arrow at the left of the Mixer:
3. Check that the Plug-in icon is active on the left of the Mixer — if not, click it to display
the Plug-in List in each channel strip.
Then, put the focus on the channel (Master, Group or Sound) in which you want to load the
effect:
1. To set the focus to the Master channel: In the top right corner of the Mixer, click in the
blank space above the Master label and headphones icon to set the focus to the Master/
Cue channel strip.
If necessary click Master in that header to switch from the Cue channel to the Master
channel.
2. To set the focus to a Group channel: If the Mixer is currently displaying the Group channel
strips, click the header of the desired Group at the top of the Mixer. If the Mixer is cur-
rently displaying Sound channel strips, double-click the header of the desired Group at
the top of the Mixer.

Using Effects
3. To set the focus to a Sound channel: If the Mixer is currently displaying the Group channel
strips, in the Mixer’s top row double-click the blank space in the header of the Group con-
taining the desired Sound, then click the header of the desired Sound in the row below. If
the Mixer is currently displaying Sound channel strips, in the top row click the header of
the Group containing the desired Sound, then click the header of this Sound in the row
below.
Finally, load the effect in the focused channel strip:
► In the Plug-in List of the focused channel, click the little “+” to append the effect to the
list, or right-click ([Ctrl]-click on macOS) an existing Plug-in slot to replace its current
Plug-in, and select the desired effect in the Plug-in menu that opens.
→ The effect is loaded and directly starts to process the audio of the channel. The effect al-
so appears in the Plug-in Strip under the Mixer, allowing you to adjust its parameters.
In fact you don’t need to explicitly put the focus on the channel in which you want to load the ef-
fect: You only have to make that channel visible in the Mixer! You can then directly click the “+”
symbol or right-click ([Ctrl]-click on macOS) an existing Plug-in slot to load the effect in that chan-
nel. Nevertheless, setting the focus on the channel has the advantage of displaying the new effect
in the Plug-in Strip under the Mixer for adjusting its parameters — you can do this afterwards.
For more information on the Mixer and the Mix view in MASCHINE, please refer to section ↑13.2,
The Mixer.
Adding an Effect on the Controller

1. Press the PLUG-IN button to enter Control mode and display the Plug-in slots.

Using Effects
2. If you want to apply the effect to the Master (to process the audio of the whole Project),
press Button 1 to select the MASTER tab.
3. If you want to apply the effect to a Group (to process the audio of the whole Group), press
Button 2 to select the GROUP tab and press the Group button A–H corresponding to the
desired Group. If the desired Group is in another bank, before you select the Group you
first need to press SHIFT + the corresponding Group button A–H to select the Group
bank.
4. If you want to apply the effect to a Sound, press Button 3 to select the SOUND tab, se-
lect the Group containing that Sound (see previous step), and press SELECT + the pad of
that Sound (or simply hit its pad if pads are in Pad Mode).
5. Move the 4-D encoder right to navigate to the Plug-in slot where you want to load the ef-
fect (the name of the Plug-in currently loaded in the selected slot appears between the
arrows under Button 5 and 6 as well as on the left display). If you want to add the effect
in addition to the existing Plug-ins, press Button 6 repeatedly to select EMPTY.
6. Press the 4-D encoder or SHIFT + BROWSER (Plug-in) to open the Plug-in Browser and
browse the available Plug-ins.
7. On the left display, turn Knob 1 to select the TYPE from Instrument or Effect. The Instru-
ment option only appears when applying effects to Sounds.
The right display shows the list of available instruments or effect Plug-ins.
8. Turn Knob 2 to select the VENDOR from INTERNAL, or the name of the vendor e.g. Na-
tive Instruments.
If you have selected any other Plug-in slot the TYPE field is not available — only Effect
Plug-ins will be listed in the right display.
9. Turn the 4-D encoder or Knob 8 to browse the available Plug-ins.

Using Effects
effect directly.
11. Leave the Plug-in Browser and switch back to Control mode by pressing the 4-D encoder
or PLUG-IN.
→ The effect is loaded in the selected Plug-in slot and it is automatically displayed on your
controller. Now you can edit the effect parameters using Knobs 1–8 and the Page buttons
— see section ↑4.2, Searching and Loading Files from the Library for more information.
Notes and Hints on Loading Effects from Your Controller

▪ If you have selected a Plug-in slot already containing a Plug-in, this Plug-in will be re-
placed with the new Effect Plug-in. If you have instead selected the EMPTY entry, the new
Effect Plug-in will be appended to the list of loaded Plug-ins.
▪ Instead of using the Plug-in Browser, you can also press BROWSE and use the global
Browser to load a particular preset for an Effect Plug-in. Please refer to section ↑4.2,
Searching and Loading Files from the Library for more information.
▪ Instead of loading the effect into the selected Plug-in slot (possibly replacing the Plug-in
currently loaded), you can also insert the effect directly after the selected slot (a new Plug-
in slot will be automatically created): After you have selected the desired Plug-in slot in
Control mode, press SHIFT + Button 3 (INSERT) and choose an effect preset in the Brows-
er that automatically opened. Upon loading, your controller automatically leaves the Brows-
er and switches back to Control mode. Please refer to section ↑4.2, Searching and Loading
Files from the Library for more information on how to use the Browser to load an Effect
preset.
▪ For all details on the parameters for each MASCHINE effect, please refer to chapter ↑15,
Effect Reference.
▪ For additional, specific information on VST/AU plug-ins, see, ↑7.3, Using Native Instru-
ments and External Plug-ins.
▪ If you created a nice effect setting, you can put it to further use by saving it as a Plug-in
preset in the software. For more details read ↑7.1.9, Saving and Recalling Plug-in Presets.

Using Effects
14.1.2 Other Operations on Effects

You can manipulate effects like any other Plug-in loaded in a Plug-in slot. This notably in-
cludes adjusting the effect parameters, removing effects, moving effects to other Plug-in slots,
saving and recalling effect presets, etc.
Here we provide a reminder of every operation available on the effects both in Arrange view
and Mix view.
Concerning the procedures listed below, the only difference between Arrange view and Mix view is
the way to open the Plug-in menu: In Arrange view you open it by clicking the Plug-in slot’s down-
pointing arrow, whereas in Mix view you open it by right-clicking ([Ctrl]-clicking on macOS) the ef-
fect name in the Plug-in List.
Action Procedure
All Effects
Insert an effect after an From the Browser or from your operating system, drag and
existing Plug-in drop the desired effect preset between two existing Plug-in
slots.
Replace an effect Open the Plug-in menu, and select another effect from the
menu.
Remove an effect Open the Plug-in menu, and select None from the menu.
Move an effect within the Click and hold the effect in the Plug-in List, drag your mouse
Plug-in List to the desired location (an insertion line appears where the
effect will be dropped), and release the mouse button.
Move an effect to another First, open the source slot’s Plug-in menu and select Cut.
channel (Sound, Group, or Then open the Plug-in menu of the desired slot in the target
Master) channel (Sound, Group, or Master) and select Paste.
Duplicate an effect First, open the source slot’s Plug-in menu and select Copy.
Then open the Plug-in menu of the desired slot in the target
channel (Sound, Group, or Master) and select Paste.

Using Effects
Action Procedure
Bypass an effect Click the FX icon (in Arrange view) or the little square (in Mix
view) at the left of the effect name in the Plug-in List. Click
again to re-enable the effect.
Save the current effect Open the Plug-in menu, and select Save As… at the bottom
settings as preset of the menu.
Recall an effect preset Use the Browser (see chapter ↑4, Browser), or open the Plug-
in menu and select Open… at the bottom of the menu.
Native Instruments and External
Effects
Open/close the effect window Arrange view: Click the little window icon in the top left
corner of the Parameter area (at the left of the first page tab).
Mix view: In the Plug-in Strip under the Mixer, click the little
arrow in the top left corner of the effect panel.
Save the current settings as Open the Plug-in menu, and select Save As Default… at the
default preset for this effect bottom of the menu.
For detailed information on these topics, please refer to ↑7.1, Plug-in Overview. For more de-
tails on the specific operations available for Native Instruments and External Effects, see ↑7.3,
Using Native Instruments and External Plug-ins.
Other Effect Operations on the Controller

Once you have selected an Effect Plug-in in a Sound, in a Group or in the Master, following
actions are available:

Using Effects
Action Procedure
Insert another effect after the Press SHIFT + Button 3.
selected effect
The Browser automatically opens and lets you select the
desired effect preset to be inserted after the Plug-in currently
selected.
Replace the effect Use the Plug-in Browser (press SHIFT + BROWSE) or the
Browser (BROWSE) as described in section ↑14.1.1, Adding
an Effect above.
Remove the effect Press SHIFT + Button 8.
The effect is removed from the Plug-in slot and all following
effects are shifted one slot up to fill the gap.
Move the effect Press SHIFT + Button 5/6 to move the effect to the previous/
next slot, respectively.
Bypass the effect Press SHIFT + Button 7.
Recall an effect preset Use the Browser (press BROWSE) to access and load any
effect preset. See section ↑4.2, Searching and Loading Files
from the Library for more on this.
Native Instruments and External
Effects
Open/close the effect window Press SHIFT + Button 2 (EDIT).
You will find more details on Plug-in operation in section ↑7.1, Plug-in Overview. For more de-
tails on the specific operations available for Native Instruments and External Effects, see ↑7.3,
Using Native Instruments and External Plug-ins.
14.1.3 Using the Side-Chain Input

For certain Plug-ins, MASCHINE allows you to use a side-chain input to control how the effects
process the audio.

Using Effects
What Is a Side-Chain Input?

If we consider an effect unit that processes the signal incoming at its main input, side-chaining
means using a secondary signal (the “side-chain signal”) fed to a secondary input of the unit
(the “side-chain input”) to control the behavior of the processing. Usually the amplitude of the
side-chain signal will determine how much the main signal will be processed by the unit.
In music production the side-chain signal is most of the time another audio track of the
project. A common example is the use of the kick drum track as side-chain for the compres-
sion of the bass track: on each kick the compressor will compress the bass more, resulting in a
typical pumping effect between kick and bass that can be heard in various styles of dance mu-
sic.
The Side-Chain Parameter Page

The following Internal, Native Instruments, and External Plug-ins support side-chaining:
▪ Internal Plug-ins: Compressor, Maximizer, Limiter, Gate, Filter.
▪ AU plug-ins (Native Instruments and External): Any AU plug-in with side-chain input.
▪ VST plug-ins (Native Instruments and External): Any VST plug-in with multiple inputs.
When you load any of these Plug-ins in a Sound or a Group, a Side-Chain Input Parameter
page appears at the end of the page list.
Side-chaining is not possible at the Master level (i.e. if the Plug-in is loaded in a Plug-in slot of the
Master).
The Side-Chain Input page of the Compressor Plug-in in the Control area.

Using Effects
The SIDE-CHAIN INPUT page of the Compressor Plug-in on the controller.
Control Area to know how to access Parameter pages.
The parameters of the side-chain input are not available in the Plug-in panel of the Plug-in Strip.
INPUT Section
Source Selects the audio signal you want to use as side-chain signal to
control the Plug-in. Available options are None (side-chain
disabled, default setting), the outputs of all (other) Sounds , and
the outputs of all (other) Groups.
In the menu these outputs are labeled as follows:
For Groups: [Group name] (e.g., Drums)
For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)
In the selector display these outputs are labeled as follows:
For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for
the Sound 4 of Group A1)

Using Effects
Applying Effects to External Audio
Gain Adjusts the input level of the side-chain signal fed into the Plug-in.
FILTER Section
Filter Activates a filter on the side-chain input. This filter can be useful to
select only a specific frequency range of the side-chain signal to
control the Plug-in.
Center Freq Adjusts the center frequency of the filter.
Width Adjusts the bandwidth of the filter.
On your controller the outputs available in the SOURCE parameter are labeled as in the display of
the Source selector described above.
Note that the settings of the Side-Chain Input page stay in place when you switch to another Plug-
in supporting side-chain. This notably allows you to try different compressors or different compres-
sion presets without losing the side-chain setup.
14.2 Applying Effects to External Audio

MASCHINE’s flexible routing facilities allow you to apply effects to external audio as well. This
external audio can come from the inputs of your audio interface if MASCHINE is used in
stand-alone mode, or from your host if MASCHINE is used as a plug-in.
To do this, we will choose a Sound and make use of the Audio page in its Input properties.
14.2.1 Step 1: Configure MASCHINE Audio Inputs

MASCHINE’s audio input configuration can be done in the software only. Furthermore, this
configuration is necessary only if you use MASCHINE as stand-alone application.

Using Effects
If you are using MASCHINE as a plug-in in a host application, MASCHINE can receive audio from
your host on any of its eight mono virtual inputs. To know how to route audio in your host to the
virtual inputs of the MASCHINE plug-in, please refer to your host documentation. When this is
done, go directly to section ↑14.2.2, Step 2: Set up a Sound to Receive the External Input.
MASCHINE in Stand-Alone Mode

Please make sure that you have connected an external audio signal source to your audio inter-
face and that the inputs of the audio interface are activated. To do this:
1. Select the Preferences… entry from the File menu to open the Preferences panel.
2. In the Audio page click the Input button, activate the desired inputs by clicking their field
in the Port column and selecting a physical input from the drop-down menu, then click
Close.
→ Audio signals coming from external sources plugged in the inputs selected here will now
be routed to the MASCHINE inputs shown in the first column.

Using Effects
Any audio source plugged into the first input of your audio interface will be available on the In 1 L input of MASCHINE, and
so on.
See ↑3.7.2, Preferences – Audio Page for more information on the Audio page of the Preferences
panel.

Using Effects
MASCHINE in Plug-in Mode

If MASCHINE is running as a plug-in in a host environment, the MASCHINE plug-in can re-
ceive audio from the host only. Please refer to your host documentation to find out how to
route audio channels to the virtual audio inputs of the MASCHINE plug-in.
In this example, we will assume that you routed some audio channels of your host to the first
virtual input pair of MASCHINE.
14.2.2 Step 2: Set up a Sound to Receive the External Input
We describe here the procedure in Arrange view. You can also do this in Mix view — see section
↑12.1.1, Sending External Audio to Sounds.
▪ Now the external audio is routed to your Sound! You can adjust the level of the incoming
signal via the Gain knob.
You will find a detailed reference of the Audio page of the Sounds’ Input properties in section
↑12.1.1, Sending External Audio to Sounds.
There are two ways to access the Input signal controls using the controller:
Method 1: Using the Channel Page

On your controller, first select the Sound you want to configure:
1. Press the CHANNEL button to enter Control mode and display the Channel properties.
2. Press Button 3 to select the SOUND tab.
3. Press the Group button A–H of the Group containing the empty Sound you want to use. If
the Group in question is in another bank, before you select the Group you first need to
press SHIFT + the corresponding Group button A–H to select its Group bank.
4. Press SELECT + the unlit pad of the empty Sound you want to use (or simply hit its unlit
pad if pads are in Pad Mode). You can then select the desired input. You can do this via
two methods: using the Master section of your controller, or using the Input properties on
the displays.

Using Effects
5. Turn Knob 1 to set the SOURCE to Ext. 1.
→ Now the external audio is routed to your Sound! You can adjust the level of the incoming
signal by turning Knob 2 (GAIN).
Method 2: Using the Navigate Page

1. Press Button 5 repeatedly until the Input properties are selected (you should see INPUT
at the top left of the right display, under Button 5/6).
2. Press SHIFT + NAVIGATE + pad 1 to select the Audio Parameter page. You can also press
the Page Left button until it turns off, since the Audio page is the first page of the Input
properties.
You will now see two parameters at the bottom of the left display: SOURCE (which selects
the source) and GAIN (which adjusts the level of the input).
3. Turn Knob 1 to set the SOURCE to Ext. 1.

Using Effects
→ Now the external audio is routed to your Sound! You can adjust the level of the incoming
signal by turning Knob 2 (GAIN).
14.2.3 Step 3: Load an Effect to Process an Input
Here we describe the procedure in Arrange view. You can also do this in Mix view — see section
↑14.1.1, Adding an Effect.
You can now insert an Effect Plug-in into this Sound so that it processes the incoming audio.
1. At the far left of the Control area, click the Plug-in icon to display the Plug-ins of the
Sound:
The icon lights up. The Plug-in List appears nearby. Since we have chosen an empty
Sound in section ↑14.2.2, Step 2: Set up a Sound to Receive the External Input above,
the Plug-in List should be empty:
2. Click the “+” icon at the top of the Plug-in List.

The Plug-in menu opens and shows a list of all available Instrument and Effect Plug-ins.

Using Effects
Creating a Send Effect
3. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may
also load them from the menu by selecting the Native Instruments (Native Instruments
products) or External (third-party products) submenu at the top of the list.
→ Upon your selection the effect is loaded in a new Plug-in slot and directly starts to proc-
ess your external audio!
Loading an Effect to Process an Input on the Controller

On your controller:
1. Press the PLUG-IN button to show the Plug-in slots of the selected Sound.
Since we have selected an empty Sound, you see EMPTY on the left of the left display as
well as under Button 5/6 on the right display (i.e. there are no Plug-ins to navigate yet).
2. Press SHIFT + BROWSER (Plug-in) to open the Plug-in Browser and browse the available
Plug-ins.
3. On the left display, turn Knob 1 to select the TYPE to Effect.
from INTERNAL, or the name of a vendor, e.g. Native Instruments.
5. Turn the 4-D encoder or Knob 8 to browse the effects Plug-ins corresponding to your se-
lection.
effect directly.
→ The selected effect is loaded in a new Plug-in slot and directly starts to process your ex-
ternal audio. By pressing PLUG-IN or SHIFT + BROWSE again you can switch back to
Control mode and adjust the effect.
14.3 Creating a Send Effect

Sometimes you may want to have a classic send effect, for example a reverb which can be
shared by multiple sound sources. To make use of a send effect, you need to:

Using Effects
▪ Step 1: Set up a Sound or Group as send effect. This is done by loading an effect into its
first Plug-in slot: ↑14.3.1, Step 1: Set Up a Sound or Group as Send Effect.
▪ Step 2: Route a portion of the desired audio signals from their original Sounds and Groups
to that send effect. This is done via the Output properties of the corresponding Sounds and
Groups: ↑14.3.2, Step 2: Route Audio to the Send Effect.
14.3.1 Step 1: Set Up a Sound or Group as Send Effect

The procedure to set up a Sound or Group as a send effect is straightforward: You just need to
load an effect into its first Plug-in slot — MASCHINE will take care of the rest and make it
available as destination for other channels of your Project!
The procedure in Arrange view is described here. You can also do this in Mix view — see section
↑14.1.1, Adding an Effect.
In this example we will use an empty Sound:

1. Choose the empty Sound you want to use as send effect: On the left of the Arranger click
the Group containing that Sound, on the left of the Pattern Editor click the desired Sound
slot, and click the SOUND tab in the top left corner of the Control area.
2. At the far left of the Control area, click the Plug-in icon to display the Plug-ins of the
Sound:
The icon lights up. The Plug-in List appears. Since we have chosen an empty Sound, the
Plug-in List should be empty:

Using Effects
3. Click the “+” icon at the top of the Plug-in List.
The Plug-in menu opens and shows a list of all available Instrument and Effect Plug-ins.
4. Click the desired effect in the list. If you have VST/AU effect plug-ins installed you may
also load them from the menu by selecting the Native Instruments (Native Instruments
products) or External (third-party products) submenu at the top of the list.
→ Upon selection the effect is loaded and its parameters are displayed in the Parameter
area. When you load an effect into the first Plug-in slot of a Sound, MASCHINE automati-
cally configures the Sound’s input to receive any signal(s) coming from other Sounds and
Groups in your Project and sends them through its own Plug-in slots — in other words,
you now have a send effect.
You could also load an effect preset from the Browser instead of using the Plug-in menu. For more
information on how to load effect presets, see ↑4.2, Searching and Loading Files from the Library.
Now that the effect is loaded, we suggest that you rename the Sound slot to the Plug-in name:
this will be of great help when routing other signals to that send effect (see section ↑14.3.2,
Step 2: Route Audio to the Send Effect below). To rename the Sound slot:
1. Double-click the name of the Sound slot in the Sound List.
The name becomes highlighted, ready to be edited.
2. Type the name of the Plug-in, and press [Enter] on your computer keyboard to confirm.

Using Effects
→ The Sound slot now mirrors the Plug-in name.
For more information on renaming Sound slots, see section ↑5.2.3, Renaming Sound Slots.
Set Up a Sound as Send Effect on the Controller

1. Press the PLUG-IN button to enter Control mode and show the Plug-in slots.
2. Press Button 3 to select the SOUND tab
3. Press the Group button A–H of the Group containing the empty Sound you want to use. If
the Group in question is in another bank, before you select the Group you first need to
press SHIFT + the corresponding Group button A–H to select its Group bank.
4. Press SELECT + the unlit pad of the empty Sound you want to use (or simply hit its unlit
pad if pads are in Pad Mode).
Since we have selected an empty Sound, you see (NONE) under Button 7/8 and these
buttons are inactive (i.e. there are no Plug-ins to navigate yet).
5. Press SHIFT + BROWSE to open the Plug-in Browser and browse the available Instrument
and Effect Plug-ins.
6. On the left display, turn Knob 1 to select the TYPE to Effect.
from INTERNAL, or the name of a vendor, e.g. Native Instruments.
8. Turn the 4-D encoder or Knob 8 to browse the effects Plug-ins corresponding to your se-
lection.

Using Effects
9. When you have found the effect you want to use (e.g., the MASCHINE Compressor), press
the 4-D encoder or Button 8 to load it. You can also use Button 5/6 to step through the
list and load each effect directly.
10. Switch back to Control mode by pressing PLUG-IN (or by pressing SHIFT + BROWSE
again).
→ Now you can edit the effect parameters using Knobs 1–8 and the Page buttons as usual
(see ↑3.3.9, Navigating Channel Properties, Plug-ins, and Parameter Pages in the Control
Area). When you load an effect into the first Plug-in slot of a Sound, MASCHINE automat-
ically configures the Sound’s input to receive any signal(s) coming from other Sounds and
Groups in your Project and sends them through its own Plug-in slots — in other terms,
you now have a send effect.
You could also load an effect preset from the Browser instead of using the Plug-in menu. For more
information on how to load effect presets, see ↑4.2, Searching and Loading Files from the Library.
Now that the effect is loaded, we suggest that you rename the Sound slot to the Plug-in name:
this will be of great help when routing other signals to that send effect (see section ↑14.3.2,
Step 2: Route Audio to the Send Effect below). You can rename the Sound slot in the software
as follows:
1. Double-click the name of the Sound slot in the Sound List.
The name becomes highlighted, ready to be edited.
2. Type the name of the Plug-in, and press [Enter] on your computer keyboard to confirm.
→ The Sound slot now mirrors the Plug-in name.
For more information on renaming Sound slots, see section ↑5.2.3, Renaming Sound Slots.

Using Effects
14.3.2 Step 2: Route Audio to the Send Effect

Once you have configured a Sound or Group as send effect (see ↑14.3.1, Step 1: Set Up a
Sound or Group as Send Effect), you can send the output of any other Sounds and Groups to
that Sound or Group. For this purpose, each Sound and each Group is equipped with an addi-
tional two auxiliary outputs available in its Output properties.
Here we describe the procedure in Arrange view. You can also do this in Mix view — see section
↑12.1.2, Configuring the Main Output of Sounds and Groups.
You can repeat the process to route more Sounds/Groups to the same send effect, or route the
same Sound/Group to an additional send effect send using AUX 2.
Routing Audio to the Send Effect on the Controller

1. Press the CHANNEL button to enter Control mode and display the Channel properties.
2. If you want to route a Group’s output to the send effect, press Button 2 to select the
GROUP tab, if necessary press SHIFT + the Group button A–H corresponding to the bank
containing the Group, and press the Group button A–H corresponding to the desired
Group.
3. If you want to route a Sound’s output to the send effect, press Button 3 to select the
SOUND tab, select the Group containing that Sound as described in the previous step,
and press SELECT + the pad of that Sound (or simply press its pad if pads are in Pad
Mode).

Using Effects
4. Press Button 5/6 to select OUTPUT.

The Output properties are shown in the displays of your controller (in the example under-
neath we show the Output properties of a Sound).
5. Press the right Page button to select the Aux page of parameters.
6. Turn Knob 1 (Aux 1 DEST.) to assign the first auxiliary output to the desired send effect.
In addition to the usual entries available in both fields, you will find all the Sounds and
Groups with an Effect Plug-in loaded in their first Plug-in slot — see ↑14.3.1, Step 1: Set
Up a Sound or Group as Send Effect. For each Sound, the entry shows the Group letter

Using Effects
and number followed by the Sound number (in the example underneath we selected the
entry A1:S1-1 for the Aux 1 output).
7. Use Knob 2 (Aux 1 LEVEL) to adjust the level of the signal sent to that auxiliary output.
The signal of each auxiliary output is taken by default after the main output level control has been
applied. This can be changed via Knob 3 (Aux 1 ORDER). For more information, please see section
↑12.1.3, Setting Up Auxiliary Outputs for Sounds and Groups.
You can repeat the process to route more Sounds/Groups to the same send effect, or route the
same Sound/Group to another send effect send using Aux 2.
14.3.3 A Few Notes on Send Effects

When working with send effects, please keep in mind the following:
▪ You cannot send the Master output to send effects.
▪ You cannot send a send effect’s output to itself, nor the output of a Group to one of its own
Sounds.
However, you can:
▪ Chain several Sounds configured as send effects by sending the output of a send effect in-
to another send effect using the method described above (see ↑14.3.2, Step 2: Route Au-
dio to the Send Effect).
▪ Use the Effect Plug-ins loaded in a Group to simultaneously process its own Sounds and
other Sounds/Groups sent to it.
This opens up virtually endless routing possibilities!

Using Effects
Creating Multi-Effects
When setting up complex routings, please take care to avoid feedback loops!
In addition, the following points are worth noting:

▪ CPU load: Send effects can be of great help to save CPU power. Using one reverb for many
Sounds and Groups instead of loading another reverb in each Sound/Group makes a big dif-
ference on the CPU load. You can adjust at which extent the reverb must be applied on
each Sound/Group via the respective Level controls in their Output properties.
▪ MIDI control: As with any other Sound, Sounds used as send effects can be controlled via
MIDI! This is not only true for all effect parameters (see ↑12.2.3, Controlling Parameters
via MIDI and Host Automation), but also for effects that require incoming notes (e.g., a vo-
coder). See ↑12.2.1, Triggering Sounds via MIDI Notes for more information.
▪ Use Patterns: You can create Patterns for your send effects to make them more lively. Sim-
ply record some automation in Control or Step mode for the desired effect parameters — or
even record notes for effects requiring incoming notes (e.g., the vocoder mentioned above).
14.4 Creating Multi-Effects

Creating a multi-effect unit is basically the same thing as creating a series of Sounds as send
effects within a Group and arrange them as you see fit. Following the procedure described in
the previous section ↑14.3, Creating a Send Effect, in every Sound of the Group you can set
up a send effect containing any number of effects, the only limit being the processing power of
your computer! You can route Sounds within the Group to your liking: You can chain them all,
keep them as separate effects to be used in parallel, build any combination of both, etc.
Organizing Your Effects into Several Sounds

If you plan to build a multi-effects containing more than a few Effect Plug-ins in series, you
have many ways at your disposal. Since you can have any number of Effect Plug-ins in each
Sound, you can set up the whole sequence of effects in series into one single Sound. However
it might be judicious to split your sequence of effects across several Sounds whose outputs are
sent into the inputs of the next Sound (thereby re-building an equivalent sequence of effects).
Doing this can have several advantages, e.g.:

Using Effects
▪ The Sound List lets you keep a better overview of your effect sequence than the tiny Plug-
in List in a single Sound.
▪ You can rename and colorize each Sound individually according to the effect(s) it contains.
▪ You have a better control on your whole effect sequence from your controller.
▪ You can easily re-arrange your effect sequence by changing the routing between your
Sounds.
To use several Sounds plugged in series, use the procedure described in the previous section
↑14.3, Creating a Send Effect to send the output of each Sound to the input of the next one in
the sequence.
Which of the Main, Aux 1, and Aux 2 Output To Use?

Each Sound provides three distinct outputs: Main, Aux 1, and Aux 2. If you want to build a
series of effects split across several Sounds, for each Sound in the series you have to send one
of these outputs to the input of the next Sound. For this we recommend you to use the main
output of the Sound rather than any of its auxiliary outputs because it provides a few useful
additional features not available on the auxiliary outputs:
▪ Cue switch: You can send the Main output of any Sound to the Cue bus and pre-listen the
channel on a distinct MASCHINE output (typically your headphones). Note that enabling
the Cue switch automatically mutes both Aux 1 and Aux 2 outputs as well, but it doesn’t
send them to the Cue bus!
▪ Hardware control: Your controller provides various shortcuts allowing a quicker and easier
control of your Sounds’ Main output.
These can be of great help when building complex multi-effects!
Saving Your Multi Effects

You can then save the whole multi-effect Group for later use. This can be useful if you like a
certain combination of effects for your live setup or in the studio. Although this is overkill, you
can afterwards still add more effects on the multi-effect Group itself — imagine for example
distinct send effects in different Sounds, but all of them being further processed by the same
set of effects at the Group level.

Using Effects
However, take time to name every Sound in this multi-effect Group after the effect(s) inserted
and to give it a name that allows you to recognize it as an effect; remember that you will be
choosing this effect from a potentially large list in your user library. In the MASCHINE Library
there are already a number of multi-effect Groups tagged Multi FX:
Groups of the Multi FX type in the LIBRARY pane.

Effect Reference
15 Effect Reference
MASCHINE provides a healthy selection of more than 20 different Effect Plug-ins that can be
quickly applied to Sounds, Groups and the Master, all as insert effects. By using MASCHINE’s
powerful routing system, it is also easy to setup send effects, build complex effect chains or
apply an effect to an external source that is connected to your audio interface, such as an in-
strument, vocals or a turntable. We recommend you load a Project from the factory library to
get to know how effects can be used.
This chapter will describe the effects and their parameters. Fore more information on how to
use effects within your Project, please read chapter ↑14, Using Effects.
Available Effects
Many types of effects are available and nearly all applications are represented. You will of
course find traditional effects such as delays, reverbs and distortions, as well as engineering
tools such as EQs, dynamics, and filters. But we have also provided you with a series of unique
and unusual effects such as Reflex, Ice, and Resochord.
Effects are organized into following categories:
▪ Dynamics: Compressor, Gate, Transient Master, Limiter, and Maximizer. See section ↑15.1,
Dynamics.
▪ Filtering effects: EQ and Filter. See section ↑15.2, Filtering Effects.
▪ Modulation effects: Chorus, Flanger, FM, Freq Shifter, and Phaser. See section ↑15.3, Mod-
ulation Effects.
▪ Spatial and Reverb effects: Ice, Metaverb, Reflex, Reverb, and Plate Reverb. See section
↑15.4, Spatial and Reverb Effects.
▪ Delays: Beat Delay, Grain Delay, Grain Stretch, and Resochord. See section ↑15.5, Delays.
▪ Distortion effects: Distortion, Lofi, and Saturation. See section ↑15.6, Distortion Effects.
▪ Performance FX: Designed for spontaneous, tactile control in recording or live performance,
these complex multi-effects alter motion, space, dynamics, and more for added expression.
See section ↑15.7, Perform FX.

Effect Reference
Dynamics
15.1 Dynamics
15.1.1 Compressor
This is a classic compression effect to control the dynamic information of an audio signal. You
can use the Compressor to fatten up your drums or to control signals that have a very wide dy-
namic range.
In addition to the legacy Classic mode, the Compressor provides an alternate Feedback mode. If
this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the Con-
trol area and on your controller).
The Compressor panel in the Plug-in Strip.
Main Page
The Compressor in the Control area: Main page.

Effect Reference
Dynamics
MODE Section
Mode Selects between two operation modes: Classic (default setting)
and Feedback. Whereas Classic mode generates a cleaner and
more precise compression, Feedback mode introduces a subtle
change in transient shape and frequency responsiveness. The
memory-based envelope detection along with the knee-
dependent ratio and gain give this mode a typical vintage feel.
DEPTH Section
Threshold This value determines the threshold at which the Compressor
starts to work.
Knee This parameter defines how the Compressor starts to work: with
a low setting, the transition into compression is soft, whereas
with a high setting, the Compressor abruptly starts to work once
the threshold is reached.
Amount The amount of compression effect, often called ratio in typical
applications.
TIME Section
Attack Use Attack to adjust how fast the Compressor reacts on the
incoming signal: the more you dial it to the right, the slower it
will react. Longer Attack times let more transients through.
Release The time the compressor will take to stop compressing after the
input signal falls below the threshold. With longer release times
it takes more time to get back to normal.
OUTPUT Section
Gain Use Gain to adjust the volume of the resulting signal;
sometimes called “make-up gain” as it can be used to
compensate for any reduction in the signal induced by the
settings above.

Effect Reference
Dynamics
The Compressor on the controller: MAIN page.
Side-Chain Input Page
The Compressor in the Control area: Side-Chain Input page.

Effect Reference
Dynamics
INPUT Section
FILTER Section
For more information on how to use the side-chain input, please refer to section ↑14.1.3, Using the
Side-Chain Input.

Effect Reference
Dynamics
Level Meters in the Compressor Panel (Plug-in Strip)

In the Plug-in Strip, the Compressor panel offers a few extra features not available in the Con-
trol area:
▪ The Threshold and Gain faders (corresponding to the Threshold and Gain parameters of the
Main page in the Control area) provide level meters for visual monitoring of the input and
output levels. In particular, by comparing the input level with the position of the Threshold
fader, you can easily see you which parts of the signal will be compressed, and adjust the
Threshold fader accordingly.
▪ An additional GR level meter indicates the gain reduction currently applied by the Compres-
sor to the input signal.
15.1.2 Gate
The Gate cuts any part of the input signal which falls below the input threshold. This can be
used to rhythmically chop the signal and make it stutter or sound staccato.
If this effect is used in a Sound or a Group, it also provides a Side-Chain Input page (in the
Control area and on your controller).
The Gate panel in the Plug-in Strip.

Effect Reference
Dynamics
Main Page
The Gate in the Control area: Main page.
DEPTH Section
Threshold This value determines the threshold at which the Gate starts to
work. Higher values will let only the loudest parts of the signal
through the Gate.
TIME Section
Attack Use Attack to adjust how fast the Gate reacts to the incoming
signal: the more you dial it to the right, the slower it will react,
resulting in a softer transition between the gated and the not
gated parts of the signal.
Hold The Hold parameter is used to determine how long the gated
signal is held; lower values will result in a more "choppy" effect.
Release The time the Gate will take to release the input signal after it
rises above the threshold.
OUTPUT Section
Mix Mix lets you adjust the amount of the effect in relation to the
dry original audio signal.

Effect Reference
Dynamics
The Gate on the controller: MAIN page.
The Gate in the Control area: Side-Chain Input page.

Effect Reference
Dynamics
INPUT Section
FILTER Section
Side-Chain Input.

Effect Reference
Dynamics
Input Level Meter in the Gate Panel (Plug-in Strip)

In the Plug-in Strip, the Gate panel offers an extra feature not available in the Control area:
The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control
area) provides a level meter for visual monitoring of the input level. By comparing this input
level with the position of the Threshold fader, you can easily see you which parts of the signal
will pass through the Gate.
15.1.3 Transient Master

The Transient Master allows you to emphasize or attenuate the transients of your audio materi-
al by modifying the envelopes of every attack and sustain phase. For example, by increasing
the attacks of a snare or a kick, you can build powerful percussive sounds without running the
risk of damaging their natural sounding. Unlike other dynamic effects (compressors, limiters,
etc.), the Transient Master does not use the input signal level to decide when to come into ef-
fect (no threshold) but rather affects all parts of the signal. This retains the musical character
of your sound while keeping operation simple and intuitive: Adjust the desired amount of ac-
centuation for the attack and/or sustain phases and you’re all set!
The Transient Master panel in the Plug-in Strip.

Effect Reference
Dynamics
The Transient Master in the Control area.
DEPTH Section
Input Gain Adjusts the level of the input signal. This allows you to offset the
overall level once you have set the desired effect, in order to
counterbalance the gain or loss of level that might occur.
Attack Sharpens/softens the attack phases in your signal. With the knob at
the middle position, the attack phases are not altered. From this
position, turning the Attack knob to the left softens the attack
phases, while turning it to the right sharpens them.
Sustain Prolongs/shortens the sustain phases in your signal. With the knob
at the middle position, the sustain phases are not altered. From this
position, turning the Sustain knob to the left shortens the sustain
phases, while turning it to the right prolongs them.
Limit Activates a hard limiter at the output, preventing the output signal
from clipping. This can be useful when the Attack knob is set to a
high value as this may produce amplified attack phases which
become too loud.

Effect Reference
Dynamics
The Transient Master on the controller.
15.1.4 Limiter
The Limiter does two things: firstly it ensures that the signal level stays below 0 dB, thus pre-
venting digital clipping. But it can also increase the overall perceived volume by reducing the
threshold. It is recommended to place the Limiter in a Master Plug-in slot. However, please
note that the Limiter introduces a small latency.
The Limiter panel in the Plug-in Strip.

Effect Reference
Dynamics
Main Page
The Limiter in the Control area: Main page.
Element Description
MODE Section
Mode Selects from two different limiter types. The available modes are
Legacy and Transparent.
DEPTH Section
(Transparent mode
only)
Threshold This value determines the threshold where the Limiter kicks in. If you
use it to prevent your signal from clipping, leave it at 0 dB; if you
want to make your signal louder, dial the Knob to the left. Available
values range in decibels from -40.0 dB to 0.0 dB (default: 0.0 dB).
Release The time the limiter will take to stop limiting after the input signal
falls below the threshold. With longer release times it takes more
time to get back to normal. Available values can be adjusted in
milliseconds from 1.0ms to 500.0ms (default: 1.0ms).
OUTPUT Section
Ceiling Adjusts the maximum output level, or ceiling. The signal will not rise
above this. Available values range in decibels from -40.0 dB to -0.3
dB (default: -0.3 dB).

Effect Reference
Dynamics
The Limiter on the controller: MAIN page.
The Limiter in the Control area: Side-Chain Input page.
The Modulation page contains one parameter: Velocity.

Effect Reference
Dynamics
Element Description
INPUT Section
Source Selects the audio signal you want to use as side-chain signal to control
the Plug-in. Available options are None (side-chain disabled, default
setting), the outputs of all (other) Sounds, and the outputs of all
(other) Groups.
▪ For Groups: [Group name] (e.g., Drums)
▪ For Sounds: [Group name]: [Sound name] (e.g., Drums: Kick)
▪ In the selector display these outputs are labeled as follows:
▪ For Groups: [Group name] (e.g., Drums)
▪ For Sounds: [Group letter+number]:S[Sound number] (e.g., A1:S4 for
Available values range from 0.00 dB to 1.00 (default: 1.00).
FILTER Section
control the Plug-in. Available values are off and on (default: off).
Center Freq Adjusts the center frequency of the filter. Available values range in
kilohertz from 20.0 Hz to 20.0 kHz (default: 632.5 kHz).
Side-Chain Input.

Effect Reference
Dynamics
Input Level Meter in the Limiter Panel (Plug-in Strip)

In the Plug-in Strip, the Limiter panel offers an extra feature not available in the Control area:
The Threshold fader (corresponding to the Threshold parameter of the Main page in the Control
area) provides a level meter for visual monitoring of the input level. By comparing this input
level with the position of the Threshold fader, you can easily see which parts of the signal will
be limited, and adjust the Threshold fader accordingly.
15.1.5 Maximizer
The Maximizer reduces the dynamics within the sound, making the overall sound louder. It is
similar to the Limiter, but it is specifically designed for increasing the perceived volume.
The Maximizer panel in the Plug-in Strip.
Main Page
The Maximizer in the Control area: Main page.

Effect Reference
Dynamics
DEPTH Section
Amount This parameter is used to adjust the amount of the Maximizer
effect. Turn the knob clockwise to increase the loudness of the
signal.
Curve Controls the compression knee; higher values tend to result in
faster and more aggressive gain control.
Turbo Turbo intensifies the effect the Maximizer has on the signal by
causing the maximizing algorithm to be applied twice.
The Maximizer on the controller: MAIN page.
The Maximizer in the Control area: Side-Chain Input page.

Effect Reference
Dynamics
INPUT Section
FILTER Section
Side-Chain Input.

Effect Reference
Filtering Effects
15.2 Filtering Effects
15.2.1 EQ
Use the EQ to boost or cut selective frequencies of the audio signal. The EQ is mainly a tool to
tailor your audio signal to taste by cutting out selected frequencies or boosting others, but can
also be used as a DJ-style cut-and-boost effect. Please note that in the Control area and on
your controller the EQ parameters are spread over two pages.
The EQ panel in the Plug-in Strip.
Freq / Gain Page
The EQ in the Control area: Freq / Gain page.

Effect Reference
Filtering Effects
LOW Section
Freq Frequency selector for the low frequency band. Ranges from 20 Hz
to 8 kHz.
Gain This determines how much the selected frequency is increased/
attenuated by.
LOW-MID Section
Freq Frequency selector for the first mid-frequency band. Ranges from
40 Hz to 16 kHz.
attenuated by.
HIGH-MID Section
Freq Frequency selector for the second mid-frequency band. Ranges
from 40 Hz to 16 kHz.
attenuated by.
HIGH Section
Freq Frequency selector for the high frequency band. Ranges from 50 Hz
to 20 kHz.
attenuated by.

Effect Reference
Filtering Effects
The EQ on the controller: FREQ / GAIN page.
Width / Output Page
The EQ in the Control area: Width / Output page.
LOW-MID Section
Width Bandwidth control for the first mid-frequency band.
HIGH-MID Section
Width Bandwidth control for the second mid-frequency band.
OUTPUT Section
Gain Gain control for the EQ altogether.

Effect Reference
Filtering Effects
15.2.2 Filter
Filter with selectable characteristics that can be modulated via LFO or envelope. There are
many applications for a filter: it can be used to emulate a synthesizer more realistically or to
filter out selected frequencies and create filter-sweeps.
If this effect is used in a Sound or a Group, it provides a Side-Chain Input page (in the Control
area and on your controller).
The Filter panel in the Plug-in Strip.
Main Page
The Filter in the Control area: Main page.
TYPE Section
Mode Select between four different filter modes: LP (low-pass), BP (band-
pass), HP (high-pass), and Notch. Depending on the mode
selected, the following parameters vary as indicated.

Effect Reference
Filtering Effects
FREQ Section
Cutoff Controls the cutoff frequency of the filter.
Resonance Controls the amount of resonance, i.e. the amount of amplification
near the cutoff frequency. It is not available with filter mode Notch.
MOD Section
Amount Defines how much the Filter gets modulated by the modulation
source.
Source Select between three different modulation sources: LFO, LFO Sync,
and Envelope. Depending on your choice for the modulation source,
the following parameters appear to the right:
Source: LFO Articulates the opening and closing of the filter using an LFO. Use
this setting in combination with Speed, and LFO Shape.
Speed Defines the speed of the modulation in hertz ranging from 0.03 Hz
up to 16 Hz.
LFO Shape Defines how the LFO evolves over time.
Source: LFO Sync Articulates the opening and closing of the filter using an LFO in
sync to the tempo of the Project. Use this setting in combination
with Speed, LFO Shape, and Phase.
Speed Defines the speed of the modulation in note values from 16/1 (one
cycle every 16 bars) up to 1/32 note.
LFO Shape Defines how the LFO evolves over time.
Phase Adjusts the start phase of the LFO.
Source: Envelope Articulates the opening and closing of the filter using an envelope.
Use this setting in combination with Decay, Smooth, and Shape.
Decay Adjusts how fast the envelope fades out.
Smooth Smooths the shape of the envelope.
Shape Changes the shape of the envelope.

Effect Reference
Filtering Effects
The Filter on the controller: MAIN page.
The Filter in the Control area: Side-Chain Input page.

Effect Reference
Filtering Effects
INPUT Section
FILTER Section
Side-Chain Input.

Effect Reference
Filtering Effects
15.2.3 Cabinet
The Cabinet Emulation is a cabinet and microphone component that proves full control over all
the (post-amp) stages of recording a guitar tone. Cabinet Emulation includes the four cabinet
types, and the variable positioning of six different microphones.
The Cabinet Emulation effect in the Plug-in Strip.
The Cabinet Emulation in the Control area (Main page depicted).
Main Page
Element Description
CABINET Section
Cabinet Selects from four different cabinet types, which includes:
▪ American Cabinet
▪ British Cabinet

Effect Reference
Modulation Effects
Element Description
▪ Vintage Cabinet
▪ Modern Cabinet
MICROPHONE Section
Microphone Selects from six different microphone types, which includes:
▪ Dynamic 57
▪ Dynamic 421
▪ Dynamic 441
▪ Ribbon 121
▪ Condenser 47
▪ Condenser 67
Distance Adjusts the distance of the microphone from the cabinet. Available
OUTPUT Section
Mix Adjusts the ratio between the effect (wet) signal and original (dry)
signals. Available values range from 0.0 to 100.0% (default:
100.0%).
15.3 Modulation Effects
15.3.1 Chorus
The Chorus is useful to “thicken” signals and enhance or add stereo content. It is most effec-
tive on melodic sounds, but can also be used on hi-hats to make them more vivid or on a voice
sample to create a doubling effect (thereby making it sound as if there were several voices). It
works by splitting the audio signal up into two versions and slightly detuning one of them.

Effect Reference
Modulation Effects
The Chorus panel in the Plug-in Strip.
The Chorus in the Control area.
MOD Section
Rate The Rate knob defines how fast the phase (and thus the perceived
pitch) of the detuned signal is being modulated.
Amount The amount of the Chorus effect.
OUTPUT Section
Mix Mix lets you adjust the amount of the effect in relation to the dry
original audio signal.

Effect Reference
Modulation Effects
The Chorus on the controller.
15.3.2 Flanger
Classic flanger effect with LFO and envelope modulation. The Flanger sounds a bit like the
Chorus, but the difference between them is that the Flanger modulates the signal faster, it is
equipped with a feedback mechanism, and can be synchronized to the tempo of the Project.
The Flanger panel in the Plug-in Strip.

Effect Reference
Modulation Effects
The Flanger in the Control area.
MAIN Section
Frequency This defines the center frequency of the Flanger.
Feedback Adjusts the amount of output signal fed back into the input.
Invert Inverts the Flanger.
MOD Section
Amount This defines how much the Flanger gets modulated by the
modulation source.
Source Here you can select the modulation source of the Flanger: available
options are LFO, LFO Sync, and Envelope. Depending on your
selection, the parameter to the right will change.
Speed (LFO) Defines the speed of the LFO in a range from 0.03 Hz up to 8 Hz.
Speed (LFO Sync) Defines the speed of the LFO in note values from 16/1 (one cycle
every 16 bars) up to 1/16 note.
Shape (Envelope) Change the shape of the envelope here.
Stereo This parameter widens the stereo field of the effect.
OUTPUT Section
original audio signal.

Effect Reference
Modulation Effects
The Flanger on the controller.
15.3.3 FM
FM modulates the frequency of the audio signal based on FM synthesis. High frequency set-
tings are useful for adding a subtle “gritty” texture to the input signal.
The FM panel in the Plug-in Strip.
FM in the Control area.

Effect Reference
Modulation Effects
FREQ Section
Rate This is for adjusting the speed of the FM modulation.
Split The Split control determines the extent to which the FM effect
is applied to high frequencies via a crossover. Turn to the right
to affect higher frequencies. It can be useful to eliminate noise
artifacts caused by FM of very high signals.
With high Split settings, the effect becomes more “gritty” and
crackling.
DEPTH Section
Contour Contour determines the extent to which the input volume affects
the intensity of the effect.
Amount Determines the amount of the FM effect.
The FM on the controller.
15.3.4 Freq Shifter

The Freq Shifter shifts selected frequencies of the audio signal by a user-specified amount.
With high frequencies it sounds like a pitch shifter; with low frequencies it sounds like a spe-
cial chorus.

Effect Reference
Modulation Effects
The Freq Shifter panel in the Plug-in Strip.
The Freq Shifter in the Control area.
FREQ Section
Coarse This is used to define the basic frequency of the Freq Shifter.
Fine Fine-tune the frequency here.
OUTPUT Section
Increasing this parameter will increase the intensity of the
effect.
Invert Inverts the settings of the Freq Shifter.

Effect Reference
Modulation Effects
The Freq Shifter on the controller.
15.3.5 Phaser
Classic phaser with LFO and envelope modulation.
The Phaser panel in the Plug-in Strip.
The Phaser in the Control area.

Effect Reference
Modulation Effects
MAIN Section
Frequency This defines the center frequency of the Phaser.
8Pole Activating this causes the Phaser to use the 8Pole mode,
resulting in a more intense phasing effect.
MOD Section
Amount This defines how much the Phaser gets modulated by the
modulation source.
Source Here you can select the modulation source of the Phaser:
available options are LFO, LFO Sync, and Envelope. Depending
on your selection, the parameter to the right will change.
Speed (LFO) Defines the speed of the LFO in a range from 0.03 Hz up to
8 Hz.
Speed (LFO Sync) Defines the speed of the LFO in note values from 16/1 (one
cycle every 16 bars) up to 1/16 note.
Shape (Envelope) Change the shape of the envelope here.
OUTPUT Section

Effect Reference
Spatial and Reverb Effects
The Phaser on the controller.
15.4 Spatial and Reverb Effects
15.4.1 Ice
This is a special reverb for getting cold and metallic sound. Ice includes a bank of self-oscillat-
ing filters for interesting and colorful effects. In the Project “Come Into My Disco” from the
MASCHINE factory library, you can hear how it creates deep soundscapes during the break in
Scene 6.
The Ice panel in the Plug-in Strip.

Effect Reference
The Ice in the Control area.
ROOM Section
Color With lower settings, the general sound is a bit more muffled.
The higher the Color value, the brighter it sounds.
Ice The “ICE” factor: higher values sound more metallic.
Size Adjust the size of the virtual room here.
OUTPUT Section
The Ice on the controller.

Effect Reference
15.4.2 Metaverb
Like the Reverb, the Metaverb adds spatial room information. However, in contrast to the Re-
verb it has a much more “synthetic” sound, which is particularly suited for melodic content.
The Metaverb panel in the Plug-in Strip.
The Metaverb in the Control area.
ROOM Section
EQ Section
Low Low band EQ to cut or boost bass frequencies.
High High band EQ to cut or boost high frequencies.
POSITION Section

Effect Reference
Pan This pans the dry signal. This is useful because the dry signal
can not be panned after the effect without panning the reverb
itself, which is unnatural.
OUTPUT Section
The Metaverb on the controller.
15.4.3 Reflex
This is a special resonating reverb. At moderate settings the Reflex can be useful to emulate
small, “tight” rooms. At more extreme settings, it can produce interesting artificial, metallic
textures.
Automating the Color parameter usually yields very pleasing results.

Effect Reference
The Reflex panel in the Plug-in Strip.
The Reflex in the Control area.
ROOM Section
Color At lower settings, the general sound is a bit more muffled; the
higher the settings, the brighter it sounds.
Smooth With this parameter, you can soften the metallic character of
Reflex.
OUTPUT Section

Effect Reference
The Reflex reverb on the controller.
15.4.4 Reverb (Legacy)

This reverb is best for most common applications. The Reverb adds room information to the
signal, making it sound more spacious and natural. It is particularly suited to drum sounds,
but also useful to add a more “natural” sound for all sorts of other signals.
The Reverb panel in the Plug-in Strip.

Effect Reference
The Reverb in the Control area.
ROOM Section
Room This allows you to choose one of four basic characteristics of the
Reverb: General, Bright, Guitar, and Shatter.
EQ Section
Low Low band EQ to cut or boost bass frequencies.
High High band EQ to cut or boost high frequencies.
POSITION Section
Pan This pans the dry signal. This is useful because the dry signal
can not be panned after the effect without panning the reverb
itself, which is unnatural.
OUTPUT Section
Freeze Enabling Freeze both mutes the dry signal and traps the current
state of the Reverb output in a temporary buffer to make it last
much longer. This is a powerful tool for playing live: By
simultaneously tweaking the Mix knob nearby, you can create
striking breaks! Setting the EQ’s Low and High controls to
generous values will further increase the effect.

Effect Reference
The Reverb on the controller.
15.4.5 Reverb
The Reverb effect provides three different modes which are described in this section.
The Room Reverb panel in the Plug-in Strip.
15.4.5.1 Reverb Room

The Room mode is suited to drum and percussive sounds, and particularly sounds good when
used on snares. Modulate the Room Size, and Pre Delay parameters to create special effects.

Effect Reference
The Reverb effect in the Plug-in Strip.
The Reverb in the Control area (Main page depicted).
Main Page
Element Description
ROOM Section
Mode Allows you to choose one of three basic modes of Reverb: Room,
Hall, and Plate (default: Room).
Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay.
Available values range can be adjusted in seconds from 0.5s to
20.2s (default: 1.0s).
Reverb Size Adjust the size of the simulated room. Turn clockwise to increase
the perceived size of the room and reverb reflections. Available
COLOR Section

Effect Reference
Element Description
Damping Adjusts damping of the high frequencies in the reverb signal.
Damping refers to the rate at which the high frequencies decay.
This effect causes the sound to become gradually muffled and
warmer. Available values range from 0.0 to 100.0% (default:
50.0%).
Modulation Sets the modulation amount. A value of 0 turns the delay
modulation off. Available values range from 0.0 to 100.0%
(default: 50.0%).
Diffusion Controls the density of the reflections in the virtual room. A low
diffusion setting makes the reflections sound more distinct, like
closely spaced echoes. A high diffusion setting creates reflections
so close they sound more like noise, in which echoes are
indistinguishable. Available values range from 0.0 to 100.0%
(default: 80.0%).
Pre Delays Adjusts the initial delay between the original signal and the first
reverberant sound. At higher values this can also be used in many
creative ways. Available values can be adjusted in milliseconds from
0.0ms to 250.0ms (default: 0.0ms).
OUTPUT Section
50.0%).

Effect Reference
The Reverb Room on the controller.
EQ page
The EQ page contains parameters to adjust the EQ of the reverb.
Element Description
EQ Section
High Cut Adjusts the high frequencies in the reverberated signal. Available
values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0
kHz).
Low Shelf Adjusts the low-frequency content in the reverberated signal.
Available values range in decibels from -0.0 dB to -12.0 dB
(default: -0.0 dB).
15.4.5.2 Reverb Hall

The Reverb Hall mode is a spacious and natural reverb that is particularly suited to tonal
sounds. When used with a high Reverb Time setting it provides a very lush reverb making it
also suitable for ambient or experimental music. Modulate the Room Size, and Pre Delay pa-
rameters to create special effects.

Effect Reference
The Reverb effect in the Plug-in Strip.
The Reverb in the Control area (Main page depicted).
Main Page
Element Description
ROOM Section
Reverb Time Adjusts the reverb decay time. Turn clockwise to increase decay.
Available values range can be adjusted in seconds from 0.5s to
20.2s (default: 2.2s).
Room Size Adjust the size of the simulated room. Turn clockwise to increase
the perceived size of the room and reverb reflections. Available
COLOR Section

Effect Reference
Element Description
Damping Adjusts damping of the high frequencies in the reverb signal.
Damping refers to the rate at which the high frequencies decay.
This effect causes the sound to become gradually muffled and
warmer. Available values range from 0.0 to 100.0% (default:
50.0%).
Modulation Sets the modulation amount. A value of 0 turns the delay
modulation off. Available values range from 0.0 to 100.0%
(default: 40.0%).
Softness Alters the balance between early reflections and the late reverb tail.
It also changes the amount of diffusion present. It allows you to
soften the attack of the reverb and push it more into the
background, so it doesn't muddy the dry sound so much. Available
Pre Delay Adjusts the initial delay between the original signal and the first
reverberant sound. At higher values this can also be used in many
creative ways. Available values can be adjusted in milliseconds from
0.0ms to 250.0ms (default: 0.0ms).
OUTPUT Section
50.0%).

Effect Reference
The Reverb Hall on the controller.
EQ page
The EQ page contains parameters to adjust the EQ of the reverb.
Element Description
EQ Section
High Cut Adjusts the high frequencies in the reverberated signal. Available
values range in kilohertz from 20.0 kHz to 2.0 kHz (default: 20.0
kHz).
Low Shelf Adjusts the low-frequency content in the reverberated signal.
Available values range in decibels from -0.0 dB to -12.0 dB
(default: -0.0 dB).
15.4.5.3 Plate Reverb

This effect emulates a plate reverberator. Partly inspired by a legendary plate reverb system,
this efficient reverb effect can be used in numerous situations. Its controls make the Plate Re-
verb easy to use while still flexible and unique sounding. The Plate Reverb is the best choice if
a vintage metallic sound is desired. It is particularly good for vocals, but popular for other ma-
terial as well, such as snare drums.

Effect Reference
The Plate Reverb effect in the Plug-in Strip.
The Plate Reverb in the Control area.
MAIN Section
Decay Adjusts the damping of the plate, which directly affects the
decay time of the reverb.
EQ Section
Low Shelf Controls the low-frequency content in the reverberated signal.
High Damp Adjusts the damping of the high frequencies in the reverberated
signal.

Effect Reference
Delays
Pre Delay Adjusts the time between the original signal and the early
reflections.
OUTPUT Section
The Reverb Plate on the controller.
15.5 Delays
15.5.1 Beat Delay

The Beat Delay is specialized for creating delays that are synced to the tempo. If you wonder
how this sounds, load up the Project “Big Stream” from the MASCHINE factory library: the
Beat Delay is used in various Groups here and offers a lot of rhythmic sonic possibilities.
Please note that in the Control area and on your controller the Beat Delay parameters are
spread over two pages.

Effect Reference
Delays
The Beat Delay panel in the Plug-in Strip.
Main Page
The Beat Delay in the Control area: Main page.
DELAY Section
Time The Time parameter defines the delay length in note values. The
available values depend on the unit defined by the Unit
parameter on the Unit page (see below). They range from half a
unit to 16 units.
Offset This parameter is used to shift the start of the delay in relation
to the tempo.
Higher values produce more copies of the signal and longer
decays.

Effect Reference
Delays
Crossover Allows for panning the feedback signal rhythmically in the
stereo field.
Color Defines the basic frequency of the feedback circuit: lower
values result in a deeper sound, whereas higher values brighten
the sound.
Split Controls the difference in frequency between left and right
channel. At full left, this control is disabled.
OUTPUT Section
Stereo This parameter widens the stereo field of the effect. Values go
from -100.0 % to 100 % — negative values inverse the stereo
field of the effect.
The Beat Delay on the controller: MAIN page.

Effect Reference
Delays
Unit Page
The Beat Delay in the Control area: Unit page.
UNIT Section
Unit Defines the unit used by the Time and Offset parameters on the
Main page.
15.5.2 Grain Delay

By chopping the input into small “grains” and rearranging them as a cloud, the Grain Delay is
useful for creating ambient textures. Increase Size, Space and Density to quickly transform any
sound into an evolving ambient texture. As a unique experimental effect, it is best experienced
firsthand. Please note that in the Control area and on your controller the Grain Delay parame-
ters are spread over two pages.
The Grain Delay panel in the Plug-in Strip.

Effect Reference
Delays
Main Page
The Grain Delay in the Control area: Main page.
GRAIN Section
Pitch Determines the pitch of the grains: low values result in a deep,
slowly repeating grain, high values speed up the grain, making it
sound faster and higher.
Size Defines the length of the grains.
Jitter Introduces artifacts into the grains.
Reverse Produces a reverse playback of the grain.
CLOUD Section
Space Determines the spacing between the grain clouds: the higher
the value, the bigger the space between the clouds.
Density Creates a more “dense” cloud: higher values create feedback-
like effects.
Mod The amount of modulation introduced to the grain cloud.

Effect Reference
Delays
The Grain Delay on the controller: MAIN page.
Output Page
The Grain Delay in the Control area: Output page.
OUTPUT Section
Stereo This parameter widens the stereo field of the effect. Values go
from 0 % (no stereo) to 100 % (full stereo).
15.5.3 Grain Stretch

The Grain Stretch effect uses granular synthesis to manipulate the speed and pitch of the in-
coming signal.

Effect Reference
Delays
The Grain Stretch panel in the Plug-in Strip.
The Grain Stretch in the Control area.
MASTER Section
On Enables the effect. Every time this control is switched on, the
Grain Stretch effect buffers incoming audio for 32 x 1/16th
step.
TIME Section
Stretch Defines the time-stretch amount. Set to 50.0 % for half speed.
Loop Sets a loop length, in 1/16th steps.
PITCH Section
Pitch Adjusts the pitch of the grains.
Link When on, grain size is corrected by the pitch.
Size Adjusts the size of the grains.

Effect Reference
Delays
OUTPUT Section
The Grain Stretch on the controller.
15.5.4 Resochord
The Resochord is a bank of 6 comb filters, each of which is individually tuned according to the
selected chord. The results are most effective with non-melodic content (like drums) as the Re-
sochord will print its own harmonic content on to any input material.
The Resochord panel in the Plug-in Strip.

Effect Reference
Delays
The Resochord in the Control area.
PITCH Section
Mode Here you can select between the two modes of the Resochord:
Chord and String. In Chord mode, the 6 combs are tuned
according to various chords. In String mode, the 6 combs are
centered around one frequency and can be spread for an
intense chorus-like effect. Depending on your selection the
other parameters in the Pitch area will change.
Spread (String mode) Allows you to define how big the difference in tuning is between
combs.
Style (Chord mode) You can select between different chord-styles such as minor or
major.
Chord (Chord mode) Here you can choose from different chords to be applied to your
audio signal.
Tune It allows you to transpose the Resochord in semitones.
COLOR Section
Brightness This is to determine the basic sound characteristic of the
Resochord: higher values will brighten the sound by adding high
frequencies.
Decay With Decay you adjust how fast the Resochord fades out.

Effect Reference
Distortion Effects
OUTPUT Section
The Resochord on the controller.
15.6 Distortion Effects
15.6.1 Distortion
The Distortion effect contains two modes of distortion: Mullholland and Analog.
The Distortion panel in the Plug-in Strip.

Effect Reference
Distortion Effects
The Distortion in the Control area.
Mullholland Mode
Mullholland mode combines overdrive, feedback and modulation, this produces a heavy distor-
tion/fuzz effect, comparable to distortion stomp-boxes for guitars. This effect is special be-
cause of the feedback it creates.
MAIN Section
Mode Select a distortion type: Mullholland or Analog.
Drive Determines the basic amount of distortion.
Color At lower settings, the general sound is a bit more muffled; the
higher the settings, the brighter it sounds.
Feedback Adjust the amount of output signal fed back into the input.
Tone General tonal characteristic of the feedback signal.
Tone Mod Modulation introduced in the feedback signal.
OUTPUT Section
GATE Section

Effect Reference
Distortion Effects
Gate The Gate button is used to cancel out feedback loops
introduced by high Feedback settings.
Release This parameter determines how fast the distorted sound dies
down when the Gate is enabled.
Analog Distortion
Analog mode adds grit to Drums and Percussion, Lead Synths and Guitars.
Element Description
MODE Section
Mode Select a distortion type: Mullholland or Analog.
DISTORTION Section
Saturation Sets the amount of saturation applied to the signal. Available values
Bass Attenuates the low frequencies of the distortion effect. Available
Tone Sets the frequency for the high cut filter. Filtering the harmonically
rich distorted signal produces a softer tone. Available values range
from 0.0 to 100.0% (default: 100.0%).
Focus Switches the frequency range of the processed signal, pulling it
slightly further forwards in the mix. The effect is more pronounced
when Definition is set to lower values.
Definition Determines how pronounced the distortion effect is. Available
OUTPUT Section
original audio signal. Available values range from 0.0 to 100.0%
(default: 100.0%).

Effect Reference
Distortion Effects
The Distortion on the controller.
15.6.2 Lofi
The Lofi effect reduces the bit depth (or bit resolution) and Sample rate of the audio signal for
an interesting “vintage” effect at subtle settings, and heavy digital distortion at extreme set-
tings.
The Lofi panel in the Plug-in Strip.
The Lofi in the Control area.

Effect Reference
Distortion Effects
RESAMPLE Section
SR SR stands for Sample Rate and ranges from CD-quality
(44.1 kHz) to 99.5 Hz which results in a hissy crackle.
BITCRUSH Section
Bits Introduces a distortion based on bit reduction.
Smooth Reduces the aliasing introduced by the Lofi effect.
Stereo Widens the stereo field of the effect.
OUTPUT Section
The Lofi on the controller.
15.6.3 Saturator
The Saturator is a flexible tool allowing you to apply various types of saturations to your signal.
The Saturator offers three modes: Classic (legacy mode), Tape, and Tube. You can select the
desired mode via the Mode selector. Since the three modes provide different sets of parame-
ters, each of them is described separately below.

Effect Reference
Distortion Effects
The Saturator panel (here in Tube mode) in the Plug-in Strip.
Classic Mode
The Classic mode is the legacy mode. It combines compression and saturation to increase the
overall loudness and add additional harmonics.
The Saturator in Classic mode in the Control area.
Classic Mode – Parameter Description

MAIN Section
Mode Selects between Classic, Tape, and Tube saturation modes. All
other parameters vary according to the mode selected here.
Input Controls the input gain of the effect. Increasing Input will also
increase the amount of compression performed on the audio
signal.

Effect Reference
Distortion Effects
Classic Mode – Parameter Description

Contour Determines how closely the Saturator responds to the input
volume. Higher values create a more distorted sound.
Drive Adjusts the amount of distortion introduced by the Saturator.
The Saturator in Classic mode on the controller.
Tape Mode
The Tape mode emulates the soft compression and pleasant saturation induced by recording to
analogue magnetic tapes. It can be used lightly to add warmth and coloring to the sound, or
heavily to add aggressive distortion.
The Saturator in Tape mode in the Control area.
Tape Mode – Parameter Description

MAIN Section

Effect Reference
Distortion Effects
Tape Mode – Parameter Description

Input Controls the input gain of the effect. This affects the amount of
tape distortion and compression.
Contour Controls the high frequency roll-off starting frequency.
Frequencies above this point will be attenuated.
Drive Controls the low frequency boost/cut of the effect.
Tube Mode
The Tube mode emulates the smooth saturation of overdriven tube amplifiers. It is equipped
with a feedback-driven dynamic compression and an additional EQ section allowing you to fine
adjust the frequency content to be processed.
The Saturator in Tube mode in the Control area.
Tube Mode – Parameter Description

MAIN Section
Charge In Tube mode the Saturator provides a negative feedback loop
that attenuates the level at the Saturator’s input according to
the amount of low frequencies at its output. This notably
prevents the bass content “polluting” the saturation. The
Charge parameter allows you to adjust the amount of feedback.
At 0 (full left) the feedback loop is disabled. Increase the
Charge value to strengthen the effect. Higher values additionally
generate an interesting compression-like effect.

Effect Reference
Perform FX
Tube Mode – Parameter Description

Overload Boosts the low frequencies of the input signal. Used together
with the Charge parameter (see above) it provides you with a
powerful tool to produce a richer, fatter sound.
Drive Adjusts the level of the input signal. This directly affects the
amount of tube distortion.
EQ Section
Bypass Enable this button to bypass the EQ section.
Bass Adjusts the level of the low frequency band.
Treble Adjusts the level of the high frequency band.
OUTPUT Section
Gain Adjusts the output level of the effect. Use this to compensate
for changes in volume caused by input gain and signal
compression.
15.7 Perform FX
Designed for spontaneous, tactile control in recording or live performance, these eight complex
multi-effects alter motion, space, dynamics, and more for added expression.
▪ Filter: The Filter is a raw-sounding, analog-modelled LP/BP/HP filter with additional satura-
tion parameters and resonance that can be pushed into self-oscillation. For more informa-
tion see section ↑15.7.1, Filter.
▪ Flanger: The Flanger is a comb filter effect. It can behave like a standard flanger or phaser
but can also go pretty wild and sound more like a creative delay if you push the decay and
delay time. Various tone-shaping controls are available. For more information see section
↑15.7.2, Flanger.
▪ Brst Echo: The Burst Echo is a warm, versatile echo with plenty of character. It's great as a
dub echo but can also be used for quite extreme sound design. For more information see
section ↑15.7.3, Burst Echo.

Effect Reference
Perform FX
▪ Reso Echo: The Reso Echo is a crazy psychedelic echo which can be tightened up into a
punchy resonator. For more information see section ↑15.7.4, Reso Echo.
▪ Ring: Based on a bank of ring modulators, the Ring effect adds a bell-like quality to melod-
ic sound sources. An additional plate reverb lets you pick out individual notes with your fin-
ger and have them ring out for several seconds. For more information see section ↑15.7.5,
Ring.
▪ Stutter: Stutter is a beat-mangling effect, great for adding glitches and fills to drum pat-
terns and more. For more information see section ↑15.7.6, Stutter.
▪ Tremolo: Tremolo is a tremolo/vibrato effect, useful for adding expression and movement on
the fly. For more information see section ↑15.7.7, Tremolo.
▪ Scratcher: At its most basic, Scratcher allows you to apply a turntable "brake" to the incom-
ing signal and then scratch it, as if on vinyl. But an additional pitchshifter delay, linked to
the Smart Strip position, adds a wealth of sonic possibilities, from simple thickening to ali-
en-sounding sweeps. For more information see section ↑15.7.8, Scratcher.
For information on how to control a Perform FX parameter using the Smart Strip, refer to
↑6.6.3, Perform Mode.
15.7.1 Filter
An analog-modeled High, Low, and Band-pass filter capable of yielding raw, natural-sounding
results using saturation and resonance. Roll off the highs for a thick, murky veil, or use the
resonance to create sounds that float into self-oscillation infinity.

Effect Reference
Perform FX
Filter Perform FX in the Plug-in Strip.
Filter Perform FX in the Control area.
Main Page
MODE Section
Mode Select an effect.
TOUCHSTRIP Section

Effect Reference
Perform FX
Engage Activates the filter.
Frequency Sets the cutoff frequency according to the min/max range
parameters.
FILTER
Type Selects from Low Pass, Band Pass and High Pass modes.
Resonance Sets the resonance of the filter. Values over 100% will lead
to self-oscillation—be careful! Turn down the Output Gain
(and turn up the Saturation to compensate) in order to avoid
extremely loud ringing. Note that the resonance will sound
more pronounced at lower saturation settings and vice versa.
Setup Page
RANGE Section
Min. Freq Sets the lower limit for cutoff frequency.
Max. Freq Sets the upper limit for cutoff frequency.
SATURATION Section
Saturation Sets the input gain of the filter.
Out Level Sets the output gain of the filter.
15.7.2 Flanger
A comb filter effect with more than a few tricks up its sleeve. Get performance-ready flanger or
phaser effects, or expose its wild side – setting higher decay and frequency values unleashes
ping-pong delay-like flutter effects.

Effect Reference
Perform FX
Flanger Perform FX in the Plug-in Strip.
Flanger Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Engage Activates the effect.
Frequency Controls the volume of the comb filter.
FLANGER
Decay Controls the decay time.
SATURATION Controls the saturation in the feedback path, producing a
dirtier, compressed sound.
STEREO Controls the stereo spread of the effect.
Setup Page
COLOR
Polarity Flips the phase of the signal in the feedback loop. Negative
polarity lowers the pitch by an octave and produces a slightly
hollower sound.
Tone Offers the choice between Flanger mode, essentially a
straightforward comb filter or short delay, and Phaser mode,
which shifts the phase of the signal in the feedback loop to
produce a more rounded, hollow tone.

Effect Reference
Perform FX
15.7.3 Burst Echo

A warm, versatile echo with plenty of character, designed for spontaneous splashes of echo.
Strong, responsive attacks that taper off into hazy trails are perfect for dub and can also be
tweaked for more extreme sound design.
Burst Echo Perform FX in the Plug-in Strip.
Burst Echo Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Engage Activates the effect. When activated, feeds a burst of signal
into the effect according to the length set by the Feed
parameter.
TS Assign Assigns the control to Feedback or Time.
Feedback: Sets the delay feedback when the effect is
activated. The feedback is reduced when the effect is
disengaged.
ECHO
Time Controls the delay time, either continuously or in quantized
divisions according to the Time Mode.
Time Mode Sets the rhythm mode of the delay, either in quantized note
divisions (Straight/Dotted/Free) or unquantized (milliseconds).
Filter Adjusts the LP and HP filter in the feedback loop. At 0%, the
filter is fully open. At higher values, the HPF frequency
increases and LPF frequency decreases for more aggressive
filtering.
Wet Level Adjusts the volume of the delayed signal.

Effect Reference
Perform FX
Setup Page
ROUTING
Mix Mode Mix mode sets the routing of the signal:
▪ In Mix mode, the dry signal is passed unprocessed and
the wet signal is added on top according to the Wet Level
parameter.
▪ In Replace mode, the dry signal is muted after the first
repetition, leaving only the delay tail audible until the ef-
fect is released.
▪ In Wet Only mode, the dry signal is muted entirely, which
is useful for placing the effect on a send.
Feed Sets the length of the burst of audio to feed into the delay
input whenever the effect is initially activated. Shorter burst
lengths (e.g. 100-150ms) are useful for picking out notes or
drum hits. Longer burst lengths (up to a second) can be used
to repeat musical phrases. Set to maximum (>99%), the feed
is continuous, deactivating burst mode entirely and simply
feeding the delay whenever the effect is on.
15.7.4 Reso Echo

A complex resonant echo with advanced feedback and saturation that verge on psychedelic
tendencies. Echoes range from a tight, punchy resonant hum to ambiguous howling sounds
from another dimension.

Effect Reference
Perform FX
Reso Echo Perform FX in the Plug-in Strip.
Reso Echo Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Frequency Controls the frequency of the filters in the filter bank, altering
the tonality of the signal.
ECHO
Time Sets the delay time.
Feedback Sets the delay feedback.
Pump Controls the amount of compression applied to the feedback
loop.
Wet Level Controls the volume of the delayed signal.
Mix Mode Sets the routing of the signal:
- In Mix mode, the dry signal is passed unprocessed and the
wet signal is added on top according to the Wet Level
parameter.
- In Insert mode, the dry signal is processed with a filter and
the wet signal is added on top. The Wet Level parameter is an
output level control for the whole effect while engaged.
- In Wet Only mode, the dry signal is muted entirely, which is
useful for placing the effect on a send.

Effect Reference
Perform FX
Setup Page
COLOUR
Saturation Controls the amount of saturation applied to the feedback
path.
Resonance Controls the resonance of the filters in the filter bank. More
resonance emphasizes the "singing" effect.
15.7.5 Ring
Built on a carefully selected bank of ring modulators, Ring adds a bell-like quality to melodic
sound sources. Using the additional plate reverb, tweak a knob or Smart Strip to hand-pick in-
dividual notes and keep them ringing into the stratosphere.
Ring Perform FX in the Plug-in Strip.

Effect Reference
Perform FX
Ring Perform FX in the Control area.
Main Page
MODE
TOUCHSTRIP
Frequency Controls the frequency of the ring modulators.
OSC
Spread Controls the frequency spread of the ring modulators. At low
Spread values, the ring modulators converge to a single
modulation frequency. At higher Spread values, the oscillator
frequencies become further apart.
Glide Sets the smoothing rate of the control position, allowing for
pitch slides as you activate different values.
REVERB
Rev Time Controls the decay time of the plate reverb.
Rev Mix Controls the dry/wet mix of the plate reverb.
MIX
Dry/Wet Controls the dry/wet mix of the overall effect.

Effect Reference
Perform FX
Setup Page
ROUTING
Mix Mode Mix mode sets the routing of the signal:
▪ In Mix mode, the dry signal is passed unprocessed and
the wet signal is added on top according to the Wet Level
parameter.
▪ In Wet Only mode, the dry signal is muted entirely, leav-
ing silence except when the effect is activated. This is
useful for using Ring as an instrument with a sustained
sound (e.g. a pad) as source material.
15.7.6 Stutter
Turn the intensity up, and down again with Stutter. This beat-mangling effect adds creative dy-
namics like glitches, fills, and expressive pitch-bending crescendos to drum patterns and
more.

Effect Reference
Perform FX
Stutter Perform FX in the Plug-in Strip.
Stutter Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Engage Controls a hard bypass. Activating the control commences
looping, releasing the control bypasses the effect.
Length Can be assigned to Length (loop length, by default) or Pitch
(relative pitch) using TS Assign.
TS Assign Assigns the control to Length or Pitch.
STUTTER
Gate Applies a volume envelope to the loop, exaggerating the
"stutter" effect, especially at short loop lengths. Setting the
parameter to 100% effectively disables the envelope whereas
the gating is most extreme at 0%.
Pitch Parameter controls playback pitch (relative to pitch when the
effect is engaged) when the controls are assigned to Length,
and the Length parameter controls loop length when the
control is assigned to Pitch. Otherwise each of these
parameters has no effect and is respectively hidden.
LOOP
Direction Controls the looping direction—Forward (always forward),
Reverse (always reverse) or Both. In Both mode, direction is
forwards by default on engage and whenever the most recent
control movement was upwards, or reverse whenever the most
recent control movement was downwards. The Direction
parameter is available only when the TS Assign is set to
Length.

Effect Reference
Perform FX
Quantize Quantizes the loop length and start point to the song position
and tempo. When Quantize is off, the loop length is
continuously variable and measured in milliseconds, and no
quantization takes place. Quantization is especially
meaningful if direction is set to Reverse or Both, since it's
during reverse playback where a poorly timed loop will sound
completely off-time.
15.7.7 Tremolo
A no-frills tremolo and vibrato effect that’s perfect for creating motion and wobble on the fly.
Instantly add expression with multiple modes, Rate, and Depth ranges, and use the Stereo
knob to create auto-pan motion effects.
Tremolo Perform FX in the Plug-in Strip.

Effect Reference
Perform FX
Tremolo Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Engage Enables and disables the effect.
Position Controls the tremolo and vibrato rate and depth, within the
ranges defined by the Min and Max parameters on the second
page.
TREMOLO
Trem/Vibr Controls the balance between tremolo (modulation of
amplitude) and vibrato (modulation of frequency/pitch).
Vibr Mode Sets the vibrato mode. Two are available: Varispeed, which
modulates the playback speed of the audio, much like moving
the pitch control on a turntable or tape player, and Freq Shift,
which uses a modulated frequency shifter. Freq Shift
produces a somewhat detuned sound due to the nature of the
frequency shifting—low frequencies are more audibly shifted
than high frequencies. Varispeed scales pitches evenly across
the audible range, but it introduces small fluctuations in
timing.
Attk/Rel Controls the speed at which the effect comes on after turning
the effect on and tails off after releasing the effect.
Stereo Controls the stereo width of the modulation.

Effect Reference
Perform FX
Setup Page
DEPTH RANGE
Depth Min Controls the amplitude of the modulation when the parameter
position is set to 0%.
Depth Max Controls the amplitude of the modulation when the parameter
DEPTH RANGE
Rate Min Controls the rate of the modulation when the parameter
Rate Max Controls the rate of the modulation when the parameter
15.7.8 Scratcher
Scratcher warps your sounds with turntable motion effects that can get other-worldly. Apply a
‘brake’ to a sound, then scratch with it – just like on vinyl. Or use the pitch shifter delay to
thicken the sound and create alien-sounding sweeps.

Effect Reference
Perform FX
Scratcher Perform FX in the Plug-in Strip.
Scratcher Perform FX in the Control area.

Effect Reference
Perform FX
Main Page
MODE
TOUCHSTRIP
Engage Engages the turntable brake, enabling scratch control. When
released, the effect is bypassed entirely.
Position Controls the brake speed (higher = slower brake), the scratch
position (higher = forward) and the delay time (higher =
longer delay time).
SWIRL
Delay Time Controls the delay time range. Longer values produce a delay
effect. Shorter values result in a comb filtering effect. The
Position parameter acts as a further scale factor on this delay
time.
Feedback Controls the delay feedback.
Freq Shift Controls a frequency shifter in the delay feedback loop. At 12
o'clock, the frequency shifter is disabled. Swirling, alien and
metallic sounds can be made by enabling the frequency
shifter and increasing the feedback.
Wet Level Controls the level of the delay effect.

Working with the Arranger
Arranger Basics
16 Working with the Arranger
the Header.
The MASCHINE Arranger has two different views: Ideas view and Song view which are also re-
flected on your controller. Each view has a specific purpose in the workflow of creating a song,
but essentially they represent the same content. The Ideas view allows you to experiment with
your musical ideas without being tied to a timeline or any kind of arrangement. Here you can
create Patterns for each Group and combine them into a Scene.
Alternatively, the Song view allows you to structure your song by allowing you to assign the
Scenes you created in the Ideas view to Sections on the Timeline, and move them around to
quickly create a larger musical structure.
16.1 Arranger Basics

The Arranger has two different views: Ideas view and Song view. Each view has a specific pur-
pose in the workflow of creating a song, but essentially they represent the same content.
Switching between Ideas View and Song view
The Arranger View button.
► Click the Arranger View button to switch between the Ideas view and the Song view.

Arranger Basics
The Ideas View

them into a Scene.
3
The Ideas view for creating and experimenting with musical ideas free from the Timeline.
(1) Scenes: This area displays all the current Scenes in your Project. After creating a Scene by
clicking the + symbol, you can build the Scene by selecting a Pattern from each Group. By
clicking each Scene name (Scene slot) you can switch between Scenes to see how your musi-
cal ideas work together.
Using your mouse you can right-click ([Ctrl] + click on macOS) on the Scene slot and select to
Append to Song from the menu and then arrange your song in the Song view. You can also use
the right-click menu to Clear, Duplicate, or Delete Scenes, as well as organize your Scenes by
selecting the Rename or Color options.
(2) Pattern area: All Patterns in your Song are represented here. You can double-click a blank
slot to create and new Pattern or click an existing Pattern to assign it to the selected Scene.
Once assigned, a Pattern will become highlighted, click it again to remove it from the selected
Scene. Using your mouse you can right-click ([Ctrl] + click on macOS) on the name of a Pat-
tern and select to Clear, Duplicate, or Delete a Pattern. You can also organize your Patterns by
selecting the Rename or Color options.

Arranger Basics
(see ↑2.4.4, Control Area). To mute a Group click the Group letter, for example A1, and right-
click ([Ctrl] + click on macOS) on the letter to solo the Group. Using your mouse you can also
right-click ([Ctrl] + click on macOS) on the name of a Group to access the many options availa-
ble to manage them.
The Song View

The Song view allows you to structure your song by allowing you to assign the Scenes you cre-
ated in the Ideas view to Sections, and move them around to quickly create a larger musical
structure.
1 2
3
4
The Song view for organizing your musical ideas into a song on the Timeline.
(see ↑2.4.4, Control Area).
(2) Song timeline: This area displays the current position within the track and allows you to set
the loop range.
(3) Section slots: This area displays Section slots. A Section is a container for Scene placed on
the Timeline. A Section can be reordered by clicking the name of the Section and dragging
and dropping it into place. You can change the length of a Section by dragging the Section end
marker to the left to shorten it, or to the right to lengthen it. Using your mouse you can right-
click ([Ctrl] + click on macOS) a Section and use Select in the menu to assign a Scene to a
Section. It is also possible to use the menu to Insert, Duplicate, Delete, Clear or Remove Sec-
tions as well as organize them by selecting the Rename or Color options.

Arranger Basics
(4) Pattern area: In each Section of the Arrangement, you can see the name of the Scene as-
signed to the Section along with the Scene's Patterns stacked vertically for each Group in the
Project. The Patterns seen here are the same as those seen when viewing the same Scene in
the Ideas view.
16.1.1 Navigating Song View

Song view can be scrolled and zoomed in or out to fit your current needs.
Navigating Song View Horizontally

A zooming scroll bar is available at the bottom of the Arranger in Song view. This tool allows
you to scroll and zoom in/out horizontally in the Event area and the Control Lane on the time
axis:
2 1 3
The zooming scroll bar at the bottom of Song view in the Arranger.
Use the horizontal zooming scroll bar as follows:

▪ Click the main part (1) of the scroll bar and hold the mouse button, then:
◦ Drag your mouse horizontally to scroll through Song view on the time axis (common
scroll bar behavior).
◦ Drag your mouse vertically to zoom in or out of Song view on the time axis.
▪ Click the left handle (2) of the scroll bar, hold the mouse button, and drag your mouse hori-
zontally to zoom in or out of Song view while keeping the right border of the display at a
fixed position in the song.
▪ Similarly, click the right handle (3) of the scroll bar, hold the mouse button, and drag your
mouse horizontally to zoom in or out of Song view while keeping the left border of the dis-
play at a fixed position in the song.

Arranger Basics
▪ Double-click the main part (1) to reset the zoom and display all of the Sections in your ar-
rangement.
Navigating the Arranger Vertically

A classic scroll bar is available right of the Arranger. It allows you to scroll to view hidden
Groups in if they do not fit in the Arranger.
The classic scroll bar right of the Arranger.
You can also adjust the height of the Arranger in order to display more/less Groups at once by
dragging its bottom right corner vertically with your mouse:
Drag the handle to adjust the Arranger’s height.

Arranger Basics
Navigating Song View from the Controller

You can also control the position and zoom factor in the Song view from your controller:
1. Press SHIFT + ARRANGER, then select Button 3 (SONG) to enter Song view.
2. Press SHIFT + VARIATION (Navigate) to enter Navigation mode.
3. Turn Knob 1 (Arranger Zoom) to zoom in or out of the Arranger.
4. Turn Knob 2 (Arranger Scroll) to scroll through the Arranger.
16.1.2 Following the Playback Position in Your Project

If the Arranger doesn’t display the entire Loop Range currently selected, at some point the
playhead will go beyond the portion of your Project currently displayed in the Arranger and you
might loose track of the playback position. To prevent this, you can force the Arranger to follow
the playhead:
Activate the Follow button to keep following the playhead in the Arranger.
► To follow the playhead position in the Arranger during playback, click the Follow button in
the MASCHINE Header.
→ The Follow button lights up in the MASCHINE Header. The Arranger will now switch to
the next portion of your Project (with the same zoom factor) as soon as the playhead
reaches the end of the portion currently displayed. This way, you always see the portion of
your Project that is currently played.
The Follow function will be automatically disabled as soon as you manually scroll in the Arranger or
the Pattern Editor (in the software or from your controller).

Arranger Basics
The Follow function affects both the Pattern Editor and the Arranger simultaneously (see sec-
tion ↑11.1.3, Following the Playback Position in the Pattern for more information on the Fol-
low function in the Pattern Editor).
To follow the playhead position during playback:
► Press the FOLLOW button in the Transport section (at the bottom of your controller).
→ The FOLLOW button lights up. In the software the Arranger will now switch to the next
portion of your Project (with the same zoom factor) as soon as the playhead reaches the
end of the portion currently displayed. This way, you always see the portion that is cur-
rently played.
The Follow function will be automatically disabled as soon as you manually scroll to another portion
of the Arranger or of the Pattern Editor.
The Follow function simultaneously affects various displays in the software and on your con-
troller:
▪ In the software the Follow function affects both the Pattern Editor and the Arranger.
▪ On your controller the Follow function affects the displays in Arrange mode (for both SEC-
TION and PATTERN pages), Events mode, Step mode, and Note Repeat mode. Additional-
ly, in Step mode the Follow function affects the pads: With Follow enabled, when the play-
head has gone across all 16 steps shown by the pads on your controller, the pads automati-
cally switch to the next 16 steps of the Pattern, if any. See section ↑11.4.2, Creating
Events/Notes for more information on Step mode.
16.1.3 Performing with Scenes and Sections using the Pads

MASCHINE provides you with settings to fine-tune the timing of the jump between the Scenes
and Sections:
▪ The Perform Grid lets you quantize the Scene transitions: You can choose the point at which
the playback will leave the current Scene (Ideas view) or Section (Song view). For example,
you might not want a newly selected loop to fire off immediately — you might want it to
wait until the next bar line. The available quantization values are: one bar, one half note,

Arranger Basics
one quarter note, one eighth note, one sixteenth note, the whole Scene/Section, and Off. If
you choose Off, the Scene/Section change will be performed immediately after you select
the next loop.
▪ The Retrigger setting lets you decide where the next loop will start:
◦ If Retrigger is enabled, the next Section (Ideas view) or Section (Song view) that is se-
lected will be forced to play from the start. This is useful if you always want your
Scenes or Sections to play from the beginning regardless of what’s happening else-
where in the music.
◦ If Retrigger is disabled (default setting), the next Scene or Section that is selected
will play from the same offset to the beginning: for example, leaving the current Sec-
tion on beat 3 will cause the new Section to start playing on its beat 3. This ensures
that the global groove of your track is not interrupted.
16.1.3.1 Jumping between Scene or Sections in the Software

In the software, the Perform Grid and the Retrigger setting can be adjusted in the MASCHINE
Header.
In Ideas view the Perform Grid and the Retrigger controls the setting for jump between Scenes
and in Song view it sets the grid for the jump between Sections.
To set the Perform Grid and the Retrigger settings:
1. Click the Arranger View button to access Ideas view for Scenes or Song view for Sections.
⇨ When the Arranger View button is illuminated, Song view is active.

Arranger Basics
2. To adjust the Perform Grid, click the Performance Grid menu in the Header and select the
desired division from the menu:
→ The next time you select a new Scene/Section or group of Scenes/Sections for looping, the
switch will happen on the next division selected here.
► To enable/disable the Retrigger setting, click the Performance Grid menu in the Header
and select Retrigger from the menu.
→ The next time you select a new Scene/Section or group of Scenes/Sections for looping, the
new loop will start from the beginning of the first Scene/Section (Retrigger enabled) or
from the same position as where it left the current Scene/Section (Retrigger disabled).

Arranger Basics
16.1.3.2 Jumping to Other Scenes using the Controller

In Ideas view the Perform Grid and the Retrigger controls the setting for jump between Scenes
and in Song view it sets the grid for the jump between Sections.
To set the Perform Grid and the Retrigger settings:
1. Press ARRANGER.
2. Press SHIFT + Button 1 or 2 to select Ideas view or Song View.
3. Press and hold FOLLOW (Grid) to enter Grid mode (or pin it by pressing FOLLOW (Grid) +
Button 1).
4. Press Button 2 to select PERFORM.
5. Press a pad to select the desired value, for example pad 9 (for 1/4, a quarter note).
→ The next time you select a new Scene/Section or loop range, the switch will happen on
the next quarter note.
Adjusting the Scene Retrigger Setting

To adjust the Scene Retrigger setting:
1. Press and hold SCENE to enter Section mode (or pin it by pressing SCENE + Button 1).
2. At the bottom left corner of the left display you see the current RETRIGGER value (Off by
default).
3. Turn Knob 1 to select On.
→ The next time you select a new Scene or loop range, it will start from the beginning.
Adjusting the Section Retrigger Setting

To adjust the Section Retrigger setting:
1. Press and hold SHIFT + SCENE to enter Section mode (or pin it by pressing SCENE +
Button 1).
2. Press the Right Page button to access page 2.

Using Ideas View
3. At the bottom left corner of the left display you see the current RETRIGGER value (Off by
default).
4. Turn Knob 1 to select On.
→ The next time you select a new Section or loop range, it will start from the beginning.
16.2 Using Ideas View

them into a Scene.
In Ideas view, MASCHINE provides a perfect overview of all your Scenes, Patterns and Groups.
Here you can create a Scene by selecting a Pattern for each Group, duplicate your Scenes,
clear a Scene and more importantly trigger your Scenes to so you can hear how they sound
when played in a particular order.
Pressing a pad in Scene mode will trigger a Scene and in turn trigger all the assigned Patterns.
In addition to creating ideas, Scene mode is fantastic for improvisation during a performance.
16.2.1 Scene Overview

In the software, all Scenes can be managed from the Ideas view:
► To open Ideas view, click the Arranger View button on the left of the Arranger.

Using Ideas View
The Ideas view.
▪ At the top you can see Scene slots. The selected Scene is highlighted.
▪ The selected Scene displays the selected Patterns for the current Scene.
Scene Mode on the Controller

The Scene mode focuses on Scene selection and manipulation.
To enter Scene mode on your controller:
► Press SCENE (Section) to enter Scene mode.
→ The software switches to Scene mode. This is indicated by the illuminated SCENE (Sec-
tion) button.
In Scene mode you see all Scene slots of the selected Scene bank represented as a square of
4x4 cells:
▪ The highlighted cell indicates the selected Scene slot.
▪ Cells showing a name represent Scene slots containing a Scene.
▪ Empty cells represent empty Scene slots.
This grid of cells shown in the right display corresponds to the pads of your controller, which
have the same functionality as in Scene Arrange mode:
▪ The fully lit pad indicates the selected Scene slot.
▪ Dim lit pads indicate Scene slots containing a Scene.
▪ Unlit pads represent empty Scene slots.

Using Ideas View
In addition, the Scene mode provides useful Scene management commands similar to those of
the Scene Arrange mode. These are described in the following sections.
16.2.2 Creating Scenes

You can create a new Scene directly in the Ideas view.
Creating a Scene in Ideas View

► To create a new Scene, click the “+” button located after all existing Scene names in the
top row of the Ideas view.
Click the “+” button to create a new Scene.
▪ A new empty Scene is created after all existing Scenes.
Creating a New Scene on the Controller

Using the controller you can create a new Scene in Ideas view.
► Press SCENE (Section) + any unlit pad to create a new empty Scene in the current Scene
bank.
→ A new empty Scene is created. You can then assign Patterns using your controller and
software — see section ↑16.2.3, Assigning and Removing Patterns.
16.2.3 Assigning and Removing Patterns

Each Pattern placed in the Arranger (Ideas view or Song view) references one of the Patterns
available in the Pattern Editor for the corresponding Group.

Using Ideas View
In the Ideas view, each column represents a Group. After selecting a Scene it is possible to
assign and remove Patterns by clicking the Pattern slots.
Any changes made in Ideas view or Song view are one and the same.
Assigning and Removing a Pattern in Ideas View

1. Select a Scene slot.
2. Then click the Pattern slot you want to assign or remove for that Scene.
→ Upon your selection, the Pattern is inserted into the selected Scene:
▪ The Pattern replaces any previous Pattern for that Group in the Scene.
▪ The Pattern displays its name and color.
▪ The corresponding Pattern will now be played by that Scene.
▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified.

Using Ideas View
Patterns and the Pattern Editor are described in chapter ↑11, Working with Patterns.
Creating a New Empty Pattern in Ideas View

You can also create a new empty Pattern in Ideas view:
► In the Ideas view, double-click the empty Pattern slot located in the column of the de-
sired Group.
→ A new empty Pattern is created.
Removing a Pattern in Ideas View

You can also remove a Pattern from a Scene in Ideas view:
► Click the highlighted Pattern for any Group to remove it from the Scene.
→ The Pattern is removed from the Scene:

▪ The corresponding Pattern will not be played by that Scene anymore.
▪ The Pattern itself is left untouched.
Assigning a Pattern to a Scene on the Controller

Assigning a Pattern is done in Pattern mode.
First select the Scene to which you want to assign a Pattern:
1. Press and hold SCENE (Section).
2. If required, press Button 7 and 8 to select the desired Scene bank.
3. Press the pad corresponding to the Scene to which you want to assign a Pattern.
Then create the Pattern for the desired Group:
1. Press the desired Group button A–H to select the Group from which you want to select a
Pattern.
2. Press and hold PATTERN.

Using Ideas View
Both your pads and the right display give you an overview of the available Patterns. Dim lit
pads indicate the available Patterns. If a Pattern already exists in the selected Scene for that
Group, the referenced Pattern is highlighted and its pad is fully lit.
► While you are holding PATTERN, if necessary, press Button 7 or 8 to select the desired
Pattern bank, then press the desired pad (or press the Page buttons) to select the Pattern
you want to use in that Scene.
→ If you have pressed a dim lit pad, a Pattern is inserted into the selected Scene. If you
have pressed an unlit pad, a new empty Pattern is automatically created in the selected
Scene. In both cases, any Pattern previously existing for that Group in the Scene will be
replaced.
Furthermore, the following happens:
▪ In the Arranger (Ideas view and Song view) the Pattern displays the name and color of the
Pattern.
▪ The corresponding Pattern will now be played by that Scene.
▪ Additionally this Pattern is loaded in the Pattern Editor, ready to be modified.
For further information regarding the Pattern mode, please refer to section ↑11.7, Managing Pat-
terns.
Removing a Pattern from a Scene on the Controller

Removing a Pattern is also done in Pattern mode.
To remove a Pattern from the selected Scene:
► Press PATTERN + Button 2 (REMOVE).
→ The Pattern is removed from the Scene:

▪ The corresponding Pattern will not be played by that Scene anymore.
▪ The Pattern itself is left untouched.
▪ If the Pattern was the longest one in the Scene, the Scene is automatically reduced to the
next longest Pattern.

Using Ideas View
16.2.4 Selecting Scenes

You can select the desired Scene in the Ideas view.
Selecting a Scene in the Ideas View

To select a Scene in the Ideas view, do the following:
► Select the desired Scene by clicking its name at the top of the Ideas View:
→ The Scene name is now highlighted to indicate that this Scene is selected.
Once a Scene Has Been Selected…

Once you have selected a Scene, the following happens:
▪ The selected Patterns slots for the focused Scene are highlighted. The Pattern slot with a
white frame is displayed in the Pattern Editor. Unselected Pattern slots are dimmed. If
there are no Patterns slots select for the Scene in focus, or if there are no Patterns at all,
the Pattern Editor is empty.
▪ If playback is off the playhead immediately jumps to the beginning of the selected Scene.
If playback is on the playhead jumps according to the Perform Grid settings.

Using Ideas View
Selecting Scenes and Scene Banks on the Controller
Selecting a Scene Bank

To select a Scene located in another Scene bank:
1. Press SCENE (Section).
2. Press Button 7 or 8 to select the previous or next Scene bank.
If the last Scene bank is selected and not empty, pressing Button 8 will create a new, empty Pat-
tern bank — see section ↑16.2.6, Creating and Deleting Scene Banks for more information.
Selecting a Scene
To select a Scene in the current Scene bank:
► Press SCENE (Section) + the dim lit pad corresponding to the cell of the desired Scene
on the right display. Alternatively you can press SCENE + Page buttons to select the pre-
vious/next Scene.
After your selection, the following happens:
▪ The Pattern Editor displays the Pattern for the focused Group in this Scene. If there is no
Pattern for the focused Group in the Scene you have just selected, the Pattern Editor is
empty.
▪ If playback is off the playhead immediately jumps to the beginning of the selected Scene.
If playback is on the playhead jumps according to the Perform Grid settings — see section
Jumping to Other Scenes.
16.2.5 Deleting Scenes

To delete a Scene in the Ideas view:

Using Ideas View
► In the top row of the Ideas view, right-click ([Ctrl]-click on macOS) the name of the Scene
you want to delete and select Delete from the context menu:
→ The Scene is deleted with all its Patterns. Scenes to the right shift to fill the gap.
Instead of deleting the Scene, which removes it entirely, you can also clear the Scene: This will only
remove its content — the Scene will stay in your arrangement, but empty. For more information on
clearing Scenes, see section ↑16.2.7, Clearing Scenes.
Deleting Scenes on the Controller

To delete a Scene on your controller:
1. Press and hold SCENE to enter Scene mode.
2. Press Button 7 and 8 to select the desired Scene bank.
3. Press the pad corresponding to the Scene you want to delete. Alternatively you can select
the Scene by pressing the Page buttons.
4. Press Button 6 (DELETE).
Alternate Method
1. Press and hold SCENE (Section) to enter Scene mode.
2. Press Button 7 and 8 to select the desired Scene bank.
3. Press ERASE + the pad corresponding to the Scene you want to delete.

Using Ideas View
If the desired Scene bank is already selected (or if there is only one Scene bank), this alternate
method can be simplified as follows: Press ERASE + SCENE (Section) + pad to delete the corre-
sponding Scene.
16.2.6 Creating and Deleting Scene Banks

A new Scene bank is automatically created once you fill an entire bank with Scenes.
Deleting Scene Banks using the Controller

To delete a Scene bank:
3. Press SHIFT + Button 6 (DELETE) to delete the selected Scene bank.
The Scene bank is deleted including all its Scenes, if any. The following banks are shifted up
to fill the gap.
16.2.7 Clearing Scenes

Clearing a Scene allows you to remove all its Patterns, leaving the Scene empty. Clearing
Scenes is only available from within the software.
While deleting a Scene removes it entirely from your arrangement, clearing it only removes its con-
tent — the Scene stays in your arrangement, but empty. For information on deleting Scenes, see
section ↑16.2.5, Deleting Scenes.
To clear a Scene:

Using Ideas View
► Right-click ([Ctrl]-click on macOS) the name of the Scene you want to clear, and select
Clear from the context menu.
→ The Scene is cleared of all Patterns.
16.2.8 Duplicating Scenes

The Ideas view allows you to duplicate a Scene. This feature works in connection with settings
made in the Default page of the Preferences.
Together they offer you options to:
▪ duplicate Scenes
▪ duplicate Scenes and Patterns
▪ link when duplicating Sections
For more information on the Default page of the Preferences, read: ↑3.7.4, Preferences – De-
fault Page.
Duplicating a Scene in the Software

To duplicate a Scene in the software:
► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu.

Using Ideas View
▪ The selected Scene is duplicated in accordance with the setting in the Default page of the
Preferences.
You can also duplicate a Scene by clicking the Scene slot header while holding [Alt] key (or [Ctrl]
on PC), and dragging the mouse. After the mouse is released a duplicate copy of the Scene is creat-
ed.
Duplicating a Scene on Your Controller

To duplicate a Scene on your controller:
1. Press SCENE (Section) to enter Scene mode.
2. Press the pad corresponding to the Scene you want to duplicate.
3. Press any unlit pad to duplicate the Scene.
→ The selected Scene is duplicated in accordance with the setting in the Default page of the
Preferences. For more information, read: ↑3.7.4, Preferences – Default Page.
16.2.9 Reordering Scenes

Reordering Scenes in Ideas view allows you to visually organize your ideas and also place each
idea on a specific pad of your controller. The reordering of Scenes will not affect your arrange-
ment.
In the software you can reorder Scenes in the Ideas view.

Using Ideas View
To reorder Scenes:
1. Click and hold the Scene name in the Ideas view.
2. While holding the mouse button, drag your mouse horizontally to the desired location.
As the mouse cursor moves, an insertion line appears at the potential places where you
can drop the Scene.
→ The Scene takes its new place. On your controller in Scene mode, you can now select this
Scene via the pad corresponding to its new location.

Using Ideas View
16.2.10 Making Scenes Unique

If a Scene is referencing the same Patterns you can make a separate (unique) copy of the
Scene and its Patterns by selecting Unique. This allows you to work on a new separate copy of
the Scene and its Pattern in isolation. Use Unique in combination with the Duplicate option.
For more information on the Duplicate option, read: ↑16.2.8, Duplicating Scenes.
To make a Scene unique in the Ideas view:
you want to make unique and select Unique from the context menu:
→ A unique copy of the Scene and its Patterns are created.
This option is only available if the selected Scene is referencing the same Patterns as another
Scene.
Making Scenes Unique Using the Controller

To make a Scene unique using your controller:
3. Press the pad corresponding to the Scene you want to make unique.
4. Press Button 2 (UNIQUE).

Using Ideas View
→ A unique copy of the Scene and its Patterns are created.
16.2.11 Appending Scenes to Arrangement

Once you are satisfied with a Scene you can append it directly to your arrangement in the Song
view.
Appending a Scene to the Arrangement in the Software

you want to append to the arrangement and select Append To Arrangement from the con-
text menu:
▪ A Section containing the appended Scene is created and added to the end of your arrange-
ment. You can then click and drag the Section slot (containing the Scene) to an appropri-
ate place on the Timeline of the Arranger.
Appending a Scene to the Arrangement Using the Controller

Using your controller you can append a Scene to the arrangement.
3. Press Button 3 (APPEND).

Using Ideas View
4. Press the pad corresponding to the Scene you want to append. You can do this more than
once, tapping a series of pads will add all of those Scenes into Sections at the end of the
Arranger in one quick step.
Release the SCENE (Section) button or turn off APPEND when done.
16.2.12 Naming Scenes

By default, Scenes are named Scene 1, Scene 2, Scene 3, etc. You can rename Scenes and
use custom names of your own. Naming is only available from within the software, but any
changes will also show up on your controller.
Renaming Scenes in the Arranger

To rename a Scene in the Arranger:
1. Double-click the Scene name at the top of the Arranger:
You can also right-click ([Ctrl]-click on macOS) the Scene slot or the corresponding cell in
the pad grid and select Rename from the context menu:
The Scene name gets highlighted and editable.

cancel you change).

Using Ideas View
→ The Scene is renamed.
16.2.13 Changing the Color of a Scene

You can change the color of each Scene in the software. To do this:
1. Right-click ([Ctrl]-click on macOS) the name of the desired Scene in the Arranger or in
the Scene Manager, and select Color from the context menu.
A Color Palette appears. In the Palette, the current color of the Scene is highlighted.
2. Select the desired color in the Palette. You can also choose to set the Scene back to its
default color by selecting Default at the bottom of the Color Palette.
→ The Scene slot takes the new color you select.
By default, Scenes are white. But you can choose another default color for Scenes in Preferences >
Colors > Scene Default. See section ↑3.7.8, Preferences – Colors Page for more information.

Using Song View
Once you have set a custom color for a Scene as described above, the Scene will retain its color
when you move it in the Song view, and the color will be stored with the Scene when you save your
Project. Note that you can select the same color as the one used by default: In this case the color
(even unchanged) will be considered as a custom color and will follow the Scene as you move it.
16.3 Using Song View

In MASCHINE, a song is made of a variable number of Scenes, which represent the different
parts of the song, for example, intro, verse, chorus, break, another verse. By assigning your
Scenes to Sections to the Timeline in the Song view you can start to organize your track.
The Song view is where you can sequence Scenes to create your final arrangement. This proc-
ess involves creating a Section on the Timeline and assigning a Scene to it. Any Scene that
exists in the Ideas view can be assigned to a Section in the Song view. You can change the
length of the Section (determining the playback length of the Scene) or re-order the Sections
as you see fit. You can also re-use the same Scene in multiple Sections in the timeline, or you
can choose to assign no Scene to the Section at all.
One powerful aspect of the relationship between the Ideas view and Song view is that the con-
tent in these two areas are actually one-in-the-same. This means that if you make a change to
a Scene it will affect all other instances of that Scene automatically. If you place a Scene in
three different Sections of the Timeline and then proceed to change the Patterns assigned to
that Scene, the other two instances of that Scene also play the newly-assigned Patterns. It’s
therefore very easy to make changes to individual Patterns and Scenes after the arrangement
has been made and immediately hear the results in the context of the arrangement, and those
changes can be made in either Ideas or Song view.
16.3.1 Section Management Overview

In the software, all Sections can be managed from the Song view.
To open the Section Manager:

Using Song View
1. To open Song view, click the Arranger View button on the left of the Arranger.
⇨ The Song view appears on the right.

2. To open the Section Manager, click the drop-down menu on the left of the arrangement.
→ The Section Manager appears on the right.
Use the Section Manager to manage your Sections.
▪ On the left you can see the list of the 16 Section slots in the selected Section bank. Slots
containing a Section show a colored or white bar on the left along with the Section name.
The other slots contain no Section. The selected Section is highlighted (Intro A in the im-
age above).
▪ On the right you can see the various Section banks in form of pad grids, a pad grid is a
square of 4x4 cells representing the pads of your controller. In each Section bank the col-
ored cells indicate Section slots containing a Section, while unlit cells indicate empty Sec-

Using Song View
tion slots. The selected Section bank is surrounded by a white border (bank 2 in the pic-
ture above). If there are too many Section banks to fit into the Section Manager’s height,
use the scroll wheel of your mouse to display the other banks.
▪ The Section slots on the left and the cells in the selected pad grid on the right are strictly
equivalent: you can use either the slots or the corresponding cells to execute all the man-
agement commands described in the next sections.
Closing the Section Manager

► To close the Section Manager, click anywhere outside it.
Section Manager vs. Arranger’s Top Row

If all Section operations can be done in the Section Manager, most of them can also be done
in the top row of the Arranger:
The top row of the Arranger.
The only difference between the Section Manager and the Arranger’s top row is that the Sec-
tion Manager allows you to manage your Section banks, which is impossible in the Arranger’s
top row. Apart from this, actions in the Arranger’s top row and in the Section Manager are
strictly equivalent.
The Section Mode and Section Arrange Mode on the Controller

On your controller you have two modes at your disposal to control your Sections: the Section
Arrange mode and the Section mode.
The Section Arrange Mode

The Section Arrange mode allows you to visually control the Sections of your Project while pro-
viding important Section management features. This mode allows you to easily build and modi-
fy your arrangement.
To enter Section Arrange mode on your controller:
► Press ARRANGER to enter Arrange mode.

Using Song View
⇨ The ARRANGER lights up to indicate that Arrange mode is enabled.
1 2 3 4 5 6 7 8 9
10
The Section Arrange mode in the controller displays.
In Section Arrange mode, the displays of your controller show the following:
▪ The left display provides an overview of the arrangement for your entire Project:
◦ Similarly to the Arranger in the software, you will find Sections organized in columns
and Groups organized in rows.
◦ The overview includes a timeline (1) and shows the current Loop Range (4). A white
vertical line indicates the current playback position (2). In addition, a frame (3) shows
you which part of your arrangement is currently shown in the right display (see below).
◦ Above the arrangement overview, you see the name of the Project, the focused Group
or the focused Sound (depending on which of the MASTER, GROUP or SOUND tab is
selected in the software’s Control area) along with the current tempo and playback po-
sition.
▪ The right display provides a detailed view of your Patterns for a portion of your arrangement:
◦ Similarly to the left display and the Arranger in the software, you will find Sections
organized in columns and Groups organized in rows.
◦ Vertically, only one Group bank is shown: At any time you will see the Group bank
containing the focused Group. The eight Groups are represented in the leftmost col-
umn by their bank letter and index number (5). The focused Group is highlighted.

Using Song View
◦ Horizontally, the displayed time interval is variable: Turn Knob 5 and 6 to zoom and
scroll in the right display to your liking, respectively. You can also enable FOLLOW
and let the right display follow the playhead as it travels through your arrangement,
see section ↑16.1.2, Following the Playback Position in Your Project for more infor-
mation.
◦ At the top of the right display you see the Section names (7) with the timeline (8) un-
derneath. The name of the selected Section is underlined. As in the left display, you
can see the vertical playhead indicator (6) and the Loop Range (10) across the entire
display.
◦ As in the software’s Arranger, each Pattern (9) shows the name and color of the Pat-
tern it is referencing. The selected Pattern (i.e. the Pattern in the selected Section for
the focused Group) is highlighted. By pressing Button 2 (PATTERN) you can switch to
Pattern Arrange mode and control the content of the referenced Pattern, see section
↑11.1.1, Pattern Editor Overview.
To know how to modify the name and color of your Patterns, please refer to section ↑11.7.6, Nam-
ing Patterns and ↑11.7.7, Changing the Pattern’s Color, respectively.
Furthermore, the pads on your controller represent the Sections of the current Section bank:
▪ The fully lit pad indicates the selected Section slot.
▪ Dim lit pads indicate Section slots containing a referenced Scene.
▪ Unlit pads represent empty Section slots.
In addition, the Section Arrange mode provides useful Section management commands. These
are described in the following sections.
Section Mode
Although sharing many features with the Section Arrange mode described above, the Section
mode focuses on Section selection and manipulation rather than on their arrangement.
► To enter Section mode on your controller, press and hold SCENE (you can pin it by press-
ing Button 1 at the same time).

Using Song View
→ Your controller switches to Section mode. This is indicated by the highlighted SECTION in
the upper-left corner of the left display.
Apart from a few commands, the main difference between the Section mode and the Section
Arrange mode is found in the right display of the controller: In Section mode you see all Sec-
tion slots of the selected Section bank represented as a square of 4x4 cells:
▪ The highlighted cell indicates the selected Section slot.
▪ Cells showing a name represent Section slots referencing a Scene.
▪ Empty cells represent empty Section slots.
This grid of cells shown in the right display corresponds to the pads of your controller, which
have the same functionality as in Section Arrange mode:
▪ The fully lit pad indicates the selected Section slot.
▪ Dim lit pads indicate Section slots referencing a Scene.
▪ Unlit pads represent empty Section slots.
In addition, the Section mode provides useful Section management commands similar to those
of the Section Arrange mode. These are described in the following sections.
16.3.2 Creating Sections

You can create a new Section directly in the Song view.
Creating a Section using the Software

► To create a new Section, click the “+” button located after all existing Section names in
the top row of the Song view.
Click the “+” button to create a new Section.

Using Song View
▪ A new empty Section is created after all existing Sections. You can then assign a Scene
using your controller and software, see section: ↑16.3.3, Assigning a Scene to a Section.
Creating a New Section on Your Controller

To create a new Section on your controller:
1. Press ARRANGER.
2. Press SHIFT + Button to enter Song view.
3. Press SCENE (Section) + any unlit pad to create a new empty Section in the current Sec-
tion bank.
→ A new empty Section is created. You can then assign a Scene using your controller and
software, see section: ↑16.3.3, Assigning a Scene to a Section.
16.3.3 Assigning a Scene to a Section

Now you have created an empty Section on the timeline of the Arranger, you can now add a
Scene from the Ideas view to the Song view.
To add a Scene to a Section on the timeline of the Arranger:
► Right-click ([Cmd] + click on macOS) a Section slot and select Append in the context
menu, then for example, select Scene 2 from the submenu.
→ The selected Scene is added to the Section.

By repeating this for each new Section, you can quickly add Scenes to the Arranger.
To add a Scene to a Section in the Song view using your controller:
1. Press SHIFT + SCENE (Section) to enter Song view.

Using Song View
2. Press the Right Arrow button to select Scene.

3. Turn the Encoder to select the Scene you want to add to the Section.
→ The selected Scene is added to the Section.

By repeating this for each new Section, you can quickly add Scenes to the Arranger.
16.3.4 Selecting Sections and Section Banks

You can select the desired Section via the Section Manager or directly in the Song view.
Selecting a Section in the Song view

To select a Section in the Song view, do the following:
► Select the desired Section by clicking its name at the top of the Song view:
→ The Section name is now highlighted and underlined to indicate that this Section is se-
lected.
Selecting a Section and a Section Bank in the Section Manager

To select a Section in the Section Manager, do the following:
1. Open the Section Manager (see ↑16.3.1, Section Management Overview).

Using Song View
2. If it is not already selected, select the Section bank containing the desired Section by
clicking its pad grid on the right.
The selected Section bank is surrounded by a white border, and the left part of the Sec-
tion Manager displays the Section slots in that bank.
3. Select the desired Section by clicking the slot with its name in the list on the left or by
clicking its cell in the selected pad grid on the right.
→ The Section slot and the corresponding cell on the right are now highlighted to indicate
that this Section is selected.
Once a Section Has Been Selected…

Once you have selected a Section using either of the methods described above, the following
happens:

Using Song View
▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section.
If there is no Pattern for the focused Group in the Section you have just selected, the Pat-
tern Editor is empty.
▪ Additionally, if the selected Section is outside the current Loop Range:
◦ The Loop Range is set to the selected Section.
◦ If playback is off the playhead immediately jumps to the beginning of the selected
Section. If playback is on the playhead jumps according to the Perform Grid settings.
For more info on the Loop Range see section ↑16.3.1, Section Management Overview. For more info
on the Perform Grid settings see section ↑16.3.1, Section Management Overview.
Selecting Sections and Section Banks on the Controller
Selecting a Section Bank

To select a Section located in another Section bank:
► Press ARRANGE, the press Button 7 or 8 to select the previous or next Section bank, re-
spectively.
→ The desired Bank is selected.
If the last Section bank is selected and not empty, pressing Button 8 will create a new, empty Sec-
tion bank, see section ↑16.3.12, Creating and Deleting Section Banks for more information.
You can also select Section banks in Section Arrange mode: press ARRANGE then Button 1 (SEC-
TION), then use Button 7 and 8.
Selecting a Section
To select a Section in the current Section bank:
1. Press ARRANGER.
2. Press SHIFT + Button 2 to enter Song view.
3. Press the dim lit pad corresponding to the cell of the desired Section on the right display.

Using Song View
→ The desired Section is selected.

Upon your selection, the following happens:
▪ The Pattern Editor displays the Pattern corresponding to the focused Group in this Section.
If there is no Pattern for the focused Group in the Section you have just selected, the Pat-
tern Editor is empty.
▪ If you have selected the Section by pressing a pad, or if you have selected a Section out-
side the current Loop Range:
◦ The Loop Range is set to the selected Section, see section Selecting a Loop Range.
◦ If playback is off the playhead immediately jumps to the beginning of the selected
Section. If playback is on the playhead jumps according to the Perform Grid settings,
see section Jumping to Other Scenes.
▪ If you have selected a Section within the current Loop Range via the Page buttons, the
Loop Range and the playback position stay untouched.
Selecting Sections and Section Banks on the Controller
Selecting a Section Bank

To select a Section located in another Section bank:
1. Press SHIFT + SCENE to enter Song view.
2. Press and hold SCENE to enter Scene mode (or pin it by pressing SCENE + CONTROL).
3. Press SHIFT + Left/Right Arrow button to select the previous/next Section bank, respec-
tively.
If the last Section bank is selected and not empty, pressing SHIFT + Right Arrow button will create
a new, empty Section bank, see section ↑16.3.12, Creating and Deleting Section Banks for more
info.
Selecting a Section
► To select a Section in the current Section bank, press SCENE + the dim lit pad corre-
sponding to this Section.
Upon your selection, the following happens:

Using Song View
▪ The Pattern Editor displays the Pattern for the focused Group in this Section. If there is no
Pattern for the focused Group in the Section you have just selected, the Pattern Editor is
empty.
▪ The Loop Range is set to the selected Section, see section Selecting a Loop Range.
▪ If playback is off the playhead immediately jumps to the beginning of the selected Section.
If playback is on the playhead jumps according to the Perform Grid settings, see section
Jumping to Other Scenes.
16.3.5 Reorganizing Sections

Reordering Sections is essential to organize your Sections and arrange your song.
In the software you can reorganize sections both in the Arranger and in the Section Manager.
To move a Section:
1. Click and hold the Section name in the Arranger.
2. While holding the mouse button, drag your mouse horizontally in the Arranger to the de-
sired location.
As the mouse cursor moves, an insertion line appears at the potential places where you
can drop the Section.

Using Song View
→ The Section takes its new place. On your controller in Section mode, you can now select
this Section via the pad corresponding to its new location.
Moving a Section using the Controller

To move a Section using your controller:
1. Press ARRANGER.
3. Press and hold SCENE (Section) to enter Section mode (you can pin it by pressing But-
ton 1).
4. If required, press Button 7 and 8 to select the Section bank containing the Section you
want to move.
5. Press the pad of the Section you want to move.
6. Turn Knob 1 (POSITION) to move the selected Section to another position in your ar-
rangement.
→ The Section takes its new place. In Section mode you can now select this Section via the
pad corresponding to its new location.
16.3.6 Adjusting the Length of a Section

Here are a few rules on how Sections, Scenes and Patterns are displayed within the Arranger:
By default the length of a Section is automatically set to the longest Pattern used within the
referenced Scene (Auto Length), unless the length of the Section is manually set to a specific
bar range (Manual Length).

Using Song View
▪ Auto Length: By default, the length of a Section corresponds to the longest Pattern used in
the referenced Scene. Inserting a new Pattern that is longer than the Section automatically
extends the Section. Removing the longest Pattern from the Section automatically shrinks
the Section. Extending/shrinking the longest Pattern automatically extends/shrinks the Sec-
tion accordingly.
▪ Manual Length: A Section can be manually adjusted to a set length. This can be shorter or
longer than the Pattern contained within the referenced Scene. Inserting or removing Pat-
terns from the Scene will not alter the length of the Section, however the length of a Sec-
tion can be altered by dragging the mouse directly in the timeline or by using your MA-
SCHINE controller.
▪ If a Pattern is shorter than the Section it is placed in, it is automatically repeated until the
end of the Section (the last repetition might be shortened). These repetitions are automati-
cally generated and cannot be edited. They reference the same Pattern placed at the be-
ginning of the Section. Repetitions of a Pattern are indicated by darker blocks in the Ar-
ranger, and a Truncated Pattern marker will appear on the right-hand side of the Section to
indicate that a section of the Pattern is hidden:
▪ If a Section has been manually shortened, only the visible part of the Pattern within the set
length will be audible.
▪ Scenes always start at the beginning of the Section.
16.3.6.1 Adjusting the Length of a Section Using the Software

Variable Section length allows you to lengthen or shorten a Scene on the Timeline of the Ar-
ranger without altering the referenced Patterns. This is particularly useful as it avoids the need
to create a new version of a Scene when you only want to extend or truncate a Scene to make
it fit an arrangement.

Using Song View
When the right end marker of a Section is extended beyond the length of a Scene, the refer-
enced Patterns are repeated. When the right end marker of a Section is dragged so it is shorter
than the referenced Scene, only the part visible part of the Patterns are audible.
To lengthen a Section:
► Click and drag the end marker of the Section to the right.
→ The Scene will be repeated if the adjustment is longer than the referenced Pattern.
To shorten a Section:
► Click and drag the end marker of the Section to the left.
→ The Scene will be shortened, and if the adjustment is shorter than the referenced Pattern
a small Truncated Clip marker will appear on the right-hand side of the Section to indi-
cate that a part of the Scene is hidden. Only the visible part of the Scene will be audible
during playback.
When adjusting the size of a Section the following rules apply:

Using Song View
▪ The value set in the Arrange Grid is used for length increments. For more information on
Arrange Grid, read: ↑16.6, The Arrange Grid.
▪ When [Shift] is pressed while changing the length, the value set in the Step Grid is used.
For more information on Step Grid, read: ↑11.1.7, Adjusting the Step Grid and the Nudge
Grid.
▪ The minimum length a Section marker can be dragged without modifier is one Arrange Grid
increment.
▪ When [Shift] is pressed, the minimum length a Section marker can be dragged is one Step
Grid increment.
▪ The minimum length of a Section equals the minimum Scene length. This can only be ach-
ieved if Arrange Grid or Step Grid is set to Off.
16.3.6.2 Adjusting the Length of a Section Using the Controller

To adjust the length of a Section using your hardware controller:
2. Press SCENE (Section) to enter Section mode.
3. Select the pad relating to the Scene you want to adjust.
4. Turn Knob 4 to adjust the length of the Section as required. Turning the knob left will
shorten the Section, turning it right will lengthen the Section.
5. Press SHIFT and turn Knob 4 to change the Section length in smaller increments.
→ The Section length is adjusted accordingly.
16.3.7 Clearing a Pattern in Song View

Clearing a Pattern allows you to remove all its contents, leaving the Pattern empty.
To clear a Pattern in Song view:
1. Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to clear.
2. Select Clear from the context menu.
→ The Pattern is cleared of all its contents.

Using Song View
16.3.8 Duplicating Sections

The Song view allows you to duplicate a Section. This feature works in connection with settings
made in the Default page of the Preferences.
Together they offer you options to:
▪ duplicate Scenes,
▪ duplicate Scenes and Patterns,
▪ link when duplicating Sections
For more information on the Default page of the Preferences, see ↑3.7.4, Preferences – De-
fault Page.
Duplicating a Section
► Right-click ([Ctrl]-click on macOS), and select Duplicate from the context menu.
▪ The selected Section is duplicated in accordance with Scene / Section settings in the De-
fault page of the Preferences.
Duplicating a Section on Your Controller

To duplicate a Section using your controller:
► Press ARRANGER.

Using Song View
→ The ARRANGER button is illuminated.

1. Hold SHIFT and press Button 2 SONG.
2. Press SCENE (Section) + DUPLICATE.
3. Press the pad to select the Section you want to duplicate.
4. Press the pad where you want to copy the Section.
→ The selected Section is duplicated in accordance with Scene / Section settings in the De-
fault page of the Preferences. For more information on the Default page, see ↑3.7.4, Pref-
erences – Default Page.
16.3.8.1 Making Sections Unique

At any time, you can make a linked Section totally unique. This will create a new Section in
the same location, and will also create new Patterns. You are then free to edit the Patterns in
the Section, or the data in the Patterns, without affecting any of the original Sections. This is
great for when you want to introduce variations into a song structure that’s been made with
linked Sections.
To make a Section unique in the MASCHINE software:
1. Right-click (or ([Ctrl]-click on OS X) the Section you want to make unique in the Timeline.
The context menu will open.
2. Click Unique.

Using Song View
→ The Section will become independent of any Sections it was linked to and the Patterns
can be edited without affecting any the original Sections.
Making a Section Unique on the Hardware

To make a Section unique on the hardware:
2. Select the Section you want to make unique by pressing the pad.
3. Press Button 2 UNIQUE.
→ The Section will become independent of any Sections it was linked to and the Patterns
can be edited without affecting any the original Sections.
16.3.9 Removing Sections

To remove a Section from the arrangement:
► In the top row of the Song view, right-click ([Ctrl]-click on macOS) the name of the Sec-
tion you want to remove and select Remove from the context menu:
→ The Section is removed from the arrangement. The next Sections shift ahead to fill the
gap.

Using Song View
Instead of removing the Section, which removes it entirely, you can also clear the Section: This will
only remove its content, the Section will stay in your arrangement, but empty. For more information
on clearing Sections, see section ↑16.3.11, Clearing Sections.
Removing Sections on the Controller

To remove a Section using your controller:
1. Press ARRANGER.
3. Press and hold SCENE (Section) to enter Section mode.
4. Press Button 7 and 8 to select the desired Section bank.
5. Press the pad corresponding to the Section you want to remove. Alternatively you can se-
lect the Section by pressing the Page buttons.
6. Press Button 6 (REMOVE).
gap.
Alternate Method
1. Press ARRANGER.
3. Press and hold SCENE (Section) to enter Section mode.
5. Press ERASE + the pad corresponding to the Section you want to remove.
gap.
If the desired Section bank is already selected (or if there is only one Section bank), this alternate
method can be simplified as follows: Press ERASE + SCENE + pad to remove the corresponding
Section!

Using Song View
You can also remove Sections in Section Arrange mode: press ARRANGE then Button 1 (SCENE) to
enter Section Arrange mode, then follow either of the procedures described above.
16.3.10 Renaming Scenes

Sections are displayed in the software using the names of the Scene they reference. Sections
do not have separate names from the Scene they represent. On the controller, they are refer-
enced by their position, for example, #4.
To organize your song, you can rename Scenes and use custom names of your own. Naming is
only available from within the software, but any changes will also show up in both views of the
Arranger (Ideas view and Song view) and on your controller.
Renaming Scenes in the Song view

To rename a Scene in the Song view:
1. Double-click the Scene name at the top of the Song view.
You can also right-click ([Ctrl]-click on macOS) the Scene slot or the corresponding cell in
the pad grid and select Rename from the context menu.
The Scene name is highlighted and editable.

Using Song View
cancel you change).
→ The Scene is renamed.
16.3.11 Clearing Sections

Clearing a Section allows you to remove the referenced Scene, leaving the Section empty.
Clearing Sections is only available from within the software.
While deleting a Section removes it entirely from your arrangement, clearing it only removes its con-
tent, the Section stays in your arrangement, but empty. For information on deleting Sections, see
section ↑16.3.9, Removing Sections.
To clear a Section:
► Right-click ([Ctrl]-click on macOS) the name of the desired Section in the Song view, and
select Clear from the context menu.
→ The Section is cleared.

Using Song View
16.3.12 Creating and Deleting Section Banks

A new Section bank is automatically created once you fill an entire bank with Sections.
Deleting Section Banks using the Controller

To delete a Section bank:
1. Press ARRANGER.
3. Press and hold SCENE (Section) to enter SECTION mode.
5. Press SHIFT + Button 6 (DELETE) to delete the selected Section bank.
→ The Section bank is deleted including all its Sections, if any. The following banks are
shifted up to fill the gap.
16.3.13 Working with Patterns in Song view

By right-clicking on a Pattern in the Arranger Song view you can access the context menu with
many useful options for arranging and interacting with Patterns.
16.3.13.1 Creating a Pattern in Song View

In Song view use the right-click context menu to create a new Pattern within a Section.
To create a new Pattern in Song view:
► Right-click ([Ctrl]-click on macOS) an empty cell the Section where you want to create a
new Pattern, and click Create in the menu.
→ A new empty Pattern is created within the selected Section.
16.3.13.2 Selecting a Pattern in Song View

In Song view use the right-click context menu to select an alternative Pattern for a Section.
To select a Pattern in Song view:

Using Song View
► Right-click ([Ctrl]-click on macOS) the Pattern you want to change, and click Select in the
menu.
→ A new Pattern is selected for this Scene and will appear in each Section where the Scene
is used.
16.3.13.3 Clearing a Pattern in Song View

In Song view use the right-click context menu to clear the contents of a Pattern. Clearing the
contents will remove all events and audio loops from the Pattern.
To clear the contents of a Pattern in Song view:
► Right-click ([Ctrl]-click on macOS) the Pattern you want to clear, and click Clear in the
menu.
→ The contents of the selected Pattern are cleared.
16.3.13.4 Renaming a Pattern in Song View

In Song view use the right-click context menu to rename a Pattern within a Section.
To rename a Pattern in Song view:
► Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to rename, and click
Rename in the menu.
→ The Pattern is renamed.
16.3.13.5 Coloring a Pattern in Song View

In Song view use the right-click context menu to change the color of a Pattern within a Sec-
tion.
To recolor a Pattern in Song view:
1. Right-click ([Ctrl]-click on macOS) the Pattern you want to recolor, and select Color in the
menu.
2. Select a new color.
→ The selected Pattern is recolored.

Using Song View
16.3.13.6 Removing a Pattern in Song View

In Song view use the right-click context menu to remove a Pattern from a Section.
To remove a Pattern from a Section in Song view:
► Right-click ([Ctrl]-click on macOS) the name of the Pattern you want to remove, and click
Remove in the menu.
→ The Pattern is removed from the Section but not deleted. You can add the Pattern back to
the Scene by using Select in the right-click menu.
For more information on Select see ↑16.3.13.2, Selecting a Pattern in Song View.
16.3.13.7 Duplicating a Pattern in Song View

In Song view use the right-click context menu to duplicate a Pattern within the selected
Scene.
To duplicate a Pattern in Song view:
► Right-click ([Ctrl]-click on macOS) the Pattern you want to duplicate, and click Duplicate
in the menu.
→ The selected Pattern is duplicated. The duplicate Pattern will take the place of the exist-
ing Pattern in the Scene and appear in each Section where the Scene is used in the ar-
rangement.
16.3.14 Enabling Auto Length

By default a Section is set to Auto Length allowing it to resize automatically to the content
within the Section. If the length of a Section is manually adjusted by truncating or lengthening
the Section end marker, Auto Length is discarded and the Section automatically set to Manual
Length.
Using the software or controller it is possible to quickly reset a Section to back to Auto Length
in order to return to the Section to its default state and reveal any truncated (hidden) content.
When Auto Length is enabled, the Manual Length settings are discarded and the Section is re-
sized according to the Patterns in the assigned Scene, and will continue to resize with the con-
tent unless the length is again manually adjusted.

Using Song View
To enable Auto Length for a Section in the software:

1. Right-click ([Ctrl]+click on macOS) on the Section.
2. Click Auto Length in the menu.
→ Auto Length is enabled and the selected Section is automatically resized to fit the content
of the Patterns within the assigned Scene. Any manual adjustments that were previously
made are discarded.
To enable Auto Length for a Section using your controller:
2. Press the corresponding pad to select a Section.
3. Press Button 3 (AUTO LENGTH) to enable Auto Length.
→ The selected Section is automatically resized to fit the content of the Patterns within the
assigned Scene.
16.3.15 Looping
Activate a Loop to repeatedly play a section of the Arrangement. Once a loop is activated the
Sections within the range of the Loop play until the loop is deactivated. You can use the range
to repeatedly play a particular part of a song. This can be good for composing, practicing a part

Using Song View
before recording, recording multiple takes, etc. The loop range is permanently visible, (even
when it is deactivate) and the range of the loop can be altered at any time using the left and
right end points.
16.3.15.1 Setting the Loop Range in the Software

Set the start, end and position of the loop using the dedicated Loop range in the Timeline. The
value set in the Arrange Grid is used for Loop range increments and movement of the loop
range itself.
To adjust the Loop range using the software:
► Drag the left or right end of the Loop marker to make it longer.
→ The Loop range is elongated.

To move the Loop using the software:
► Click and drag the Loop range left or right.
→ The whole Loop range is moved.
Activating or Deactivating a Loop in the Software

To activate a Loop using the software:

Playing with Sections
► Click the Loop button in the header to activate or deactivate the loop.
→ When the Loop is activated the Sections within the Loop range are repeated.
16.4 Playing with Sections

MASCHINE provides you with various tools to precisely control which Section has to be played,
and when.
Studio Track or Live Performance?

If you are composing a studio track that you plan to export as is, you can arrange your Sections
so that your whole track can be played in one go from the very first Section to the very last one.
Please refer to section ↑5.4.3, Exporting Audio for information on exporting audio.
Alternatively, if you are preparing a track for performing live, you will probably want to switch
back and forth between different Scenes in Ideas view during your performance.
This may also be necessary if you are composing a studio track in your host sequencer and
want to control which Scenes or Sections the MASCHINE plug-in has to play. This is where the
MASCHINE tools described in the following sections come in handy.
16.4.1 Jumping to another Playback Position in Your Project

You can use the timeline above the Scene headers in the Song view to set the playback to the
desired position.
In the timeline and across the entire height of the Song view, the playhead (a white vertical
line) indicates the current play position in your Project.

Triggering Sections or Scenes via MIDI
The playhead shows you the current play position.
At any time you can jump to another position in your Project:

► Click anywhere in the timeline to move the playhead to that position in the Project.
Depending on the playback state, the following will happen:
▪ If playback is off, the playhead jumps to the closest Perform Grid division. If the Perform
Grid is set to Off (i.e. disabled), the playhead jumps to the exact position you have clicked.
If the Perform Grid is set to Quick, the playhead jumps to the beginning of the bar you
have clicked in.
▪ If playback is on, the playhead jumps to the closest position near your mouse cursor and
retains the playhead position relative to the Perform Grid division. This allows seamless
jumps that don’t break the rhythm of your music. If the Perform Grid is set to Off (i.e. disa-
bled) or Quick, the playhead position is retained relative to the current bar.
You can also change the playback position by switching to another Scene. The moment at which the
jump will occur depends on the Perform Grid setting. See section ↑11.1.6, Adjusting the Arrange
Grid and the Pattern Length for more information.
16.5 Triggering Sections or Scenes via MIDI

You can trigger and change Sections and Scenes using MIDI Note or MIDI Program Change
messages sent from your host to the MASCHINE plug-in or MIDI controller.
When this feature is enabled, MIDI notes or Program Change messages are linked to the first
128 Section slots or Scenes (depending on your settings) whether they are empty or not:

Triggering Sections or Scenes via MIDI
Section/Scene Slot MIDI Note Number Program Change Number

1 0 1
2 1 2
3 2 3
… … …
128 127 128
MIDI Note numbers: Host applications use various conventions to name MIDI notes. For example, in
MASCHINE, MIDI note number 0 is referred to as C-2 and MIDI note number 60 (middle C) as C3.
Please refer to the documentation of your host to know which convention is used.
Program Change numbers: Some host applications send Program Change numbers in the range [0–
127] instead of [1–128]. In that case, the PC number 0 will trigger Section/Scene slot 1, PC 1 will
trigger Section/Scene slot 2, etc. Please refer to the documentation of your host to know in which
range it sends Program Change numbers.
To enable or disable Section/Scene MIDI Change feature, do the following:

► Click Edit > MIDI Change from the menu.

The Arrange Grid
→ The MIDI Change dialog appears.
In the MIDI Change dialog:

1. In Scene option click the Enabled checkbox to enable Scenes in the Ideas view to be trig-
gered. In Section option, click the Enabled checkbox to enable Sections in the Song view
to be triggered.
2. In the Source submenu, select the name of your controller.
3. In the Trigger submenu for Scene and Section, select MIDI Note to trigger via MIDI notes,
Program Change to trigger via MIDI Program Change messages, or None (default setting)
to disable MIDI Change completely.
4. In the Channel submenu, select the MIDI channel the Scenes or Sections should receive
MIDI messages from.
16.6 The Arrange Grid

The Arrange Grid is used to quantize all modifications related to the timeline. The value set
here is used for following features:

The Arrange Grid
▪ Loop start / length

▪ Loop position
▪ Pattern length
▪ Scene length
▪ Song Clip start / length
▪ Playhead relocation
The Arrange Grid setting is located at the bottom left corner of the Arranger area and can be
activated/deactivated by toggling the Grid symbol.
1. Click the Grid symbol next to the value to enable the Arrange Grid.
2. Click the current Arrange Grid value to open the drop-down menu.
3. Select a new value for the Arrange Grid.

Quick Grid
→ The selected Arrange Grid value is applied.

On your controller:
1. Press the SHIFT + FOLLOW (Grid) button to access the Grid page.
2. Press Button 3 to select ARRANGE.
3. Press Button 5, or the corresponding pad to select an Arrange Grid value.
→ The selected Arrange Grid value is applied.
To Disable the Arrange Grid

► Press pad 16 to select OFF.
The Arrange Grid is disabled.
16.7 Quick Grid

The Quick Grid setting allows you to quickly and conveniently set the most common Pattern
lengths using your controller.
Quick Grid is only accessible from your controller.
When the Quick Grid is used, the following rules apply:

▪ The available Pattern lengths are as follows:1 bar, 2 bars, 4 bars, 8 bars, 12 bars, 16 bars,
etc. (+ 4 bars each time starting from 4 bars).
▪ The Quick Grid is exclusively applied to Pattern Length. For all other features related to the
Grid (for example, adjusting the playback position or the Loop Range), the Arrange Grid is
used.
▪ The Quick Grid setting is global and applies to all Patterns.
▪ When the Quick Grid is set to OFF, the Arrange Grid is used.
To enable the Quick Grid on your controller:

Quick Grid
1. Press SHIFT + FOLLOW (Grid) to access the Grid page.

2. Press Button 3 to select ARRANGE.
3. Turn Knob 4 to enable the QUICK Grid.
Quick Grid is enabled and globally applied to all Patterns.

Sampling and Sample Mapping
Opening the Sample Editor
17 Sampling and Sample Mapping
MASCHINE allows you to record internal or external audio signals without having to stop the
sequencer. This is a useful feature if you want to record your own Samples, or rearrange loops
that you have created yourself using MASCHINE.
You can apply various types of destructive processing to the recorded audio or to any Sample
you want to use in a Sound.
The slicing feature allows you to slice loops in order to make them playable at any tempo with-
out changing their pitch or timing. It is also useful to extract single Samples from loops (e.g., a
snare sound from a drum loop) quickly or to rearrange loops by editing or muting their Slices,
changing the order of the Slices, applying a different quantization or adding Swing.
Last but not least you can map your Samples to particular Zones, thereby creating multi-sam-
ple Sounds with individual velocity and note ranges, volume and panning. This is useful to em-
ulate the behavior of classic instruments and synthesizers, but also allows for a large amount
of Samples in only one Sound.
All this can be done in the Sample Editor.
Make sure you check out the tutorial videos regarding sampling on the Native Instruments
website (http://www.native-instruments.com).
Before recording an external source please consult the documentation that came with your audio
interface for information on connecting audio devices and instruments.
17.1 Opening the Sample Editor

To access the Sample Editor in the software, do the following:
1. In the Sound List left of the Pattern Editor, click the desired Sound to put it under focus.
For more details on how to set the focus to a Sound, please see section ↑3.3.7, Focusing
on a Group or a Sound.

Recording Audio
2. Click the Sample Editor button on the left of the Pattern Editor to switch to the Sample
Editor.
The Sample Editor appears and displays the Sample content of the focused Sound.
3. In the Sample Editor, click the desired tab at the top to access the corresponding page:
▪ The Record page allows you to record audio: ↑17.2, Recording Audio.
▪ The Edit page allows you to apply destructive edits to existing Samples: ↑17.3, Editing a
Sample.
▪ The Slice page allows you to create Slices from your existing Samples: ↑17.4, Slicing a
Sample.
▪ The Zone page allows you to assign your Samples to particular note and velocity ranges
(called Zones) in your Sound and to adjust various playback settings for each Zone individ-
ually: ↑17.5, Mapping Samples to Zones.
17.2 Recording Audio

MASCHINE provides everything you need to record audio.
17.2.1 Opening the Record Page

In the software, recording audio is done in the Sample Editor. By default the Sample Editor is
on the blank Record page and no further tabs are visible. The Record page tab, plus additional
tabs, will become visible once audio has been recorded.
The Record page looks as follows:

Recording Audio
The Record page in the software.
Opening the RECORD Page on the Controller

► In Sampling mode, press Button 1 to access the RECORD page.
The RECORD page looks as follows:

Recording Audio
The RECORD page on the controller.
17.2.2 Selecting the Source and the Recording Mode

At the bottom of the Record page, the parameters in the INPUT section and the RECORDING
section allow you to select which source should be recorded and how the recording should be
made.
Adjusting the source and mode of the recording in the software.
Selecting the Source to Record

► Click the SOURCE selector on the left to select the type of source you want to record:
▪ To record external audio signals connected to your audio interface, select Ext. Ster. (for
stereo signals) or Ext. Mono (for mono signals).
▪ To record audio signals coming from MASCHINE itself, select Internal.
► Click the INPUT selector to choose between the available inputs:
▪ If SOURCE is set to Ext. Ster., you can select either of MASCHINE’s four external stereo
inputs In 1–4.
▪ If SOURCE is set to Ext. Mono, you can select either of MASCHINE’s eight external mono
inputs: the left (“L”) or right (“R”) channel of each input pair In 1–4.

Recording Audio
▪ If SOURCE is set to Internal, you can select the output of any available Group or the Mas-
ter.
You can easily record the output of a particular Sound by setting SOURCE to Internal, soloing this
Sound and selecting its parent Group in the INPUT selector!
You can also set SOURCE to Internal, choose as INPUT a Group with a drum kit loaded, and record
your live improvisations on the pads while playing this drum kit. You will then have your own im-
provisations recorded as Samples, ready to be used, edited, sliced, etc., as any other Samples in
MASCHINE.
Choosing a Recording Mode

► Click the MODE selector to select from the three available recording modes:
▪ Detect: Select Detect mode to record audio after the set threshold has been exceeded. This
is useful when you want to record audio without the silence before the incoming sound is
played. If the focused Sound Slot contains neither an Audio nor Sampler plug-in, then the
recorded audio will be loaded automatically into a Sampler plug-in for the first Take. You
must trigger the Sampler with MIDI Events, such as those in a Pattern, to play back the
audio.
◦ If Detect is selected, you can set a certain threshold using the level THRESHOLD con-
trol on the right. After you clicked Start, any input signal level exceeding this thresh-
old will start the recording. You can then manually stop the recording by clicking
Stop. You can also adjust the threshold by dragging the slider that appears on the hor-
izontal input level meters above the RECORDING section:
Any input level reaching the slider position will start the recording. Double-click the
slider to reset the threshold to its default value (-12 dB).
▪ Sync: Select Sync to start recording audio in time with the Pattern Grid. If the focused
Sound Slot contains neither an Audio nor Sampler plug-in, then the recorded Sample will
be loaded automatically into a Sampler plug-in as the first Take. You must trigger the Sam-
pler with MIDI Events, such as those in a Pattern, to play back the audio.

Recording Audio
◦ When Sync is selected recording starts in sync with the sequencer after you click
Start. Recording will begin at the start of the next bar. The LENGTH control on the
right allows you to choose a length for the recording: either 1, 2, 4, 8, or 16 bars, or
choose Free if you do not want to set a duration limit to the recording. At any time you
can click Stop to end recording, and the recording will stop at the next bar.
▪ Loop: Select Loop to record audio that you intend to play back in-sync with your Project
using the Audio plug-in. It records audio in the same way as Sync however, when Loop
mode is selected, an additional parameter appears called Target. In Loop mode the record-
ing is loaded into an Audio plug-in so that you can immediately hear the results. The Tar-
get parameter dictates how MASCHINE loads new recordings into the Audio plug-in:
◦ Take: Select this to record each new Take into the focused Sound slot. After a Take is
recorded it will become visible in the Audio Pool and is automatically selected for
playback. You can review all the Takes you’ve captured in the Audio Pool, and you can
also select any of these Takes to make it the one that actively plays back in the Audio
plug-in.
◦ Sound: Select this Target to enable a layered workflow similar to that achieved with
guitar loop pedals. When using this mode, each recording that you make will be load-
ed into an empty Sound Slot in the current Group and Pattern and will begin playing
back. Therefore, each recording that you make will play back layered on top of all the
previous recordings made in that particular Group and Pattern. By layering each new
Take onto a new Sound you can quickly build a whole pattern. You can continue this
process until all empty Sound slots in the Group are used up, then after that, each
additional recording will simply be recorded as a new Take into the last Sound of the
Group that contains an Audio plug-in (and the previous Takes will still be preserved if
you want to switch back to them).
◦ Pattern: Select this Target to record in a similar way to the Sound Target described
above, except that each new recording will also be assigned to a new Pattern on its
own. This mode can be useful when you want to record different variations of a part
and then review the variations easily by playing each Pattern. For example, the first
recording made will be placed into an Audio plug-in in the first available Sound Slot
in the Group, and then a new Pattern will be created where only this new recording is
playing back. Making another recording will result in the recording being loaded into
another unused Sound Slot, and another new Pattern will be made where only this

Recording Audio
most recent recording is playing. If you then switch back to the previous Pattern,
you’ll hear only the previous recording (the newest will automatically be disabled in
the previous Pattern).
Monitoring the Input Signal
Visually controlling the input signal.
The level meters above the RECORDING section show you at any time the level of the selected
audio source. For example, this can come in handy to adjust the appropriate threshold in De-
tect mode. For this purpose, in Detect mode the level meters additionally provide a fader ad-
justing the threshold level, this fader is a strict equivalent to the THRESHOLD control descri-
bed above. This way, you can easily visualize when the input signal exceeds the current thresh-
old (and hence, when it would start the recording) and adjust that threshold accordingly.
Monitoring the input signal.
Furthermore, if you have selected an external signal (Ext. Ster. or Ext. Mono selected in
SOURCE), an additional MONITOR section appears on the right. In this section, activate the
MONITOR button to send the input signal to the Cue bus of MASCHINE, allowing you to hear
on a separate channel (e.g., your headphones) the audio source that is about to be recorded.
For more information on how to use the Cue bus, please refer to section ↑13.2.6, Using the Cue
Bus.
17.2.3 Arming, Starting, and Stopping the Recording
The Start and Cancel buttons.

Recording Audio
► Click Start to arm the recording.

After the recording has been armed, its behavior will depend on the recording mode you have
selected (via the MODE selector, see section ↑17.2.2, Selecting the Source and the Recording
Mode above):
▪ When recording in Detect mode:
◦ The recording will start as soon as the input signal exceeds the THRESHOLD value.
Until then the Start button turns to a Waiting button and the Waiting for input… mes-
sage appears in the information bar above the waveform display. During this waiting
phase you can also start the recording manually by clicking the Waiting button or can-
cel the recording by clicking Cancel.
◦ Once the recording has started, click Stop to stop the recording (it stops immediately)
or Cancel to cancel the recording (the recorded audio will not be saved).
▪ When recording in Sync mode:
◦ The recording will start at the next bar. Until then the Start button reads a flashing
Waiting label and the Waiting for the next bar… message appears in the information
bar above the waveform display.
◦ Once the recording has started, the audio is recorded for the duration set by the
LENGTH control (see section ↑17.2.2, Selecting the Source and the Recording Mode
above). You can also click Stop beforehand to stop the recording at the next bar, or
Cancel to cancel the recording (in that case the recorded audio will not be saved).
▪ When recording in Loop mode:
◦ The recording will start at the beginning of the Pattern. Until then the Start button
reads a flashing Waiting label and the Waiting for end of Pattern… message appears
in the information bar above the waveform display.
◦ Once the recording has started, the audio is recorded for the duration set by the
LENGTH control (see section ↑17.2.2, Selecting the Source and the Recording Mode
above). You can also click Stop beforehand to stop the recording at the next bar, or
Cancel to cancel the recording (in that case the recorded audio will not be saved).
If you want to start and stop the recording manually, you can set the MODE to Detect, dial the
THRESHOLD down to OFF, and start the recording by clicking Start. To stop recording, click Stop.

Recording Audio
In any case the recorded audio will be stored in the Sound that was under focus as you started
the recording.
When Recording is Complete

When the recording is done, the following things happen:
▪ Each Take is named and stored as a file on your hard disk (see section ↑17.2.7, Location
and Name of Your Recorded Samples).
▪ Its waveform appears in the waveform display and its name appears in the information bar
above.
▪ The recording is automatically appended to the Audio Pool of the Sound and selected (see
section ↑17.2.6, Checking Your Recordings below).
▪ A Sampler Plug-in is automatically loaded in the first Plug-in slot of the Sound, ready to
play your new recording. All Plug-ins previously loaded in that Sound are removed. Howev-
er, when recording in Loop mode, an Audio plug-in will be loaded. If there was already a
Sample Plug-in in the Slot when engaging Loop recording, it will not change the Sampler
to an Audio plug-in, it will remain as a Sampler and you will need to manually change the
plug-in to Audio if you wish. In this case all recorded takes will be preserved.
▪ The Sound slot takes the name of your recording.
▪ If the Sampler Plug-in was used in Detect mode or Sync mode, the recording is mapped to
a new Zone covering the entire key and velocity ranges in the Zone page, which makes your
new sample directly playable from the pad of its Sound slot (or from all your pads if pads
are in Keyboard mode). Any existing Zones will be replaced. The sample must then be trig-
gered using MIDI Events in the Pattern Editor. For more information on Zones, see section
↑17.5, Mapping Samples to Zones.
▪ If the Audio Plug-in was used in Loop mode, the last recorded Take will automatically play
back with the Pattern.
Note that any MIDI Events for that Sound in the current Pattern will remain. As a consequence,
your recording might directly start to play at the pitch defined by the existing MIDI Events.

Recording Audio
17.2.4 Arming, Starting, and Stopping the Recording on Your Controller

► Press Button 5 (START) to arm the recording.
If you want to start and stop the recording manually, you can set the MODE to DETECT, dial the
THRESHOLD down to OFF and start the recording by pressing START (Button 5). To stop recording,
press STOP (Button 5).
In any case the recorded audio will be stored in the Sound that was under focus when you
started the recording.
See also
2 Selecting the Source and the Recording Mode [➙ 869]
2 Location and Name of Your Recorded Samples [➙ 880]
2 Checking Your Recordings [➙ 876]
2 Mapping Samples to Zones [➙ 916]
17.2.5 Using the Footswitch for Recording Audio

Your controller has an input for a footswitch that you can use this to control the capturing of
loops while keeping your hands free to play your instruments.
In order to use the footswitch for audio loop recording, you must first go to the SAMPLING
page on your controller to pin the recording mode. You can then set the recording parameters
as described in the section: ↑17.2.2, Selecting the Source and the Recording Mode.
When all the recording parameters are set, simply depress the footswitch. Once the sync point
is reached, the recording will start. It will then stop after the pre-determined length or, espe-
cially in the cases where you have selected Free for the LENGTH, press the footswitch again to
stop recording on the next bar. When the recording is done, the recording will be loaded ac-
cording to the setting of the Target parameter.
It may occur that you trigger a new recording by mistake. The footswitch can help in these cas-
es:

Recording Audio
▪ Cancel: If a recording is standing by to start (awaiting the sync point), you can simply press
the footswitch once again to cancel the recording. No new recordings will be made, nor
new Patterns.
▪ Abort: If a recording has started, “double-click” the footswitch to abort the current record-
ing. Any audio recorded will be discarded, no loops will be loaded, and no new Pattern cre-
ated.
▪ Undo: If a recording finished before you could cancel it, then simply press and hold the
footswitch to trigger Undo.
17.2.6 Checking Your Recordings

You can visualize the last recordings you have made in the current Sound:
1
2
5
The waveform display and the information bar displaying a recording.
(1) Waveform display

Shows the waveform of the recording currently selected in the Audio Pool (5) — by default
your last recording:

Recording Audio
▪ Use the scroll wheel of your mouse to zoom in/out. You can also use the zooming scroll bar
(2).
▪ When the Sample is played back (e.g., by pressing the pad or by clicking the little play
icon in the information bar (4)), a playhead indicator (white vertical line) shows you the cur-
rent play position within the waveform.
▪ Right-click (macOS: [Ctrl]-click) anywhere in the waveform to open a context menu with the
following commands:
Command Description
Open containing folder Opens the folder on your hard disk containing the Sample, providing
quick access to the original file.
Save Sample As… Opens a Save Sample As dialog allowing to save the recorded Sample
under another name and/or to another location on your computer.
(2) Zooming scroll bar

Click the main part of the scroll bar and drag your mouse horizontally to scroll through the
waveform on the horizontal axis (time), or drag it vertically to zoom in/out on the same time
axis. You can also click the left or right handle of the scroll bar and drag it horizontally to zoom
in/out while keeping the opposite border of the display at a fix position in the waveform. Dou-
ble-click the main part of the bar to reset the zoom and display the entire waveform. Alterna-
tively you can use the scroll wheel of your mouse when hovering the waveform display (1) to
zoom in/out.
(3) Timeline
Shows the time scale in bars (Sync mode) or seconds (Detect mode).
(4) Information bar
Displays the file name and the length of the recorded Sample. Click and hold the little play
icon on the left to listen to the Sample on the Cue bus (see section ↑13.2.6, Using the Cue
Bus for more information). Click the little circle (or pair of circle) at the far right to switch the
waveform display (1) between single-channel and two-channel display.
(5) Audio Pool

Recording Audio
All the takes you have made since you opened the current Project are stored in the Audio Pool
and displayed as mini waveforms under the waveform display. The following actions are availa-
ble:
▪ Click any take to display the recording, you can then further edit this recording via the oth-
er pages of the Sample Editor. When selected, a recording is also automatically mapped to
a new Zone covering the entire key and velocity ranges in the Zone page. Any existing
Zones will be replaced.
▪ Click and hold the little play icon in the bottom right corner to listen to the Sample on the
Cue bus without loading it in the waveform nor in the Zone page.
▪ Click the little cross at the top right corner of a mini waveform to delete this particular re-
cording.
▪ Drag any mini waveform to another Sound slot to load it in that Sound.
Right-click (macOS: [Ctrl]-click) any mini waveform in the Audio Pool to open a context menu
with the following commands:
Command Description
Delete Deletes the displayed take from the Audio Pool. This has the same
effect as clicking the little cross at the top right corner of the
selected mini waveform in the Audio Pool.
Remove unused Deletes from the Audio Pool all takes that are not currently mapped
recordings to any Zone in the Zone page.
Map recordings to Automatically maps all recordings of the Audio Pool to Zones in the
zones Zone page. The created Zones are put on adjacent keys and cover the
entire velocity range. Any existing Zones will be replaced.
All recordings (takes) in the Audio Pool are saved with the Project. When you close the current
Project, all of your takes are saved as audio files and available for later use in the Audio Pool, un-
less you explicitly delete them (via the MASCHINE software or in your operating system).
Checking Your Takes on the Controller

You can visualize the last recordings you have made in the current Sound on the right display
of your controller:

Recording Audio
The name and length of the displayed Sample are indicated above the waveform. When the
Sample is played back (e.g., by pressing the fully lit pad), a playhead indicator (vertical line)
shows you the current play position within the waveform.
► Turn Knob 5 to zoom in on the waveform of the Sample and Knob 6 to scroll through it.
Using the Audio Pool

All the recordings (takes) you have made since you opened the current Project are stored in the
Audio Pool and displayed as mini waveforms on the left display. The following actions are
available:
▪ To navigate your various recordings, press Button 7 (PREV) and Button 8 (NEXT).
▪ If you are using the Sampler plug-in:
◦ The selected recording is automatically loaded in the Plug-in and ready to be played.
◦ You can further edit the selected recording via the other pages of the Sampling mode.
When selected, a recording is also automatically mapped to a new Zone covering the
entire key and velocity ranges in the ZONE page. Any existing Zones will be replaced.
◦ You can press the fully lit pad (the focused Sound slot) to listen to the displayed re-
cording on the Cue bus (see section ↑13.2.6, Using the Cue Bus for more informa-
tion).
▪ If you are using the Audio plug-in:
◦ The last take will automatically play back.
◦ You can set the Playback mode, the Engine mode and Source Tempo and Length.
▪ Press Button 6 (DELETE) to delete the selected take.
All recordings (takes) in the Audio Pool are saved with the Project. When you close the current
Project, all of your takes are saved as audio files and available for later use unless you explicitly
delete them (via the MASCHINE software or in your operating system).

Recording Audio
17.2.7 Location and Name of Your Recorded Samples

By default, recorded Samples (takes) are saved in the Recordings subfolder of your Standard
User Directory, as defined on the User pane of the Library page in the Preferences panel (see
↑3.7.4, Preferences – Default Page). If you activate the Prefer Project Folder option on the
General page of the Preferences panel (see ↑3.7.1, Preferences – General Page), recorded
Samples will be saved instead in a Recordings subfolder of the folder where your current
Project is saved.
Recorded Samples are automatically named using the following scheme:
[YYMMDD]T[HHMMSS].wav
In the name above, [YYMMDD] stands for the current date (year, month, day, all 2-digit num-
bers) and [HHMMSS] for the current time (hours, minutes, seconds, all 2-digit numbers).
17.3 Editing a Sample

The Edit page of the Sample Editor in the software and its equivalent the EDIT page of the
Sampling mode on your controller allow you to adjust the start and end points of a Sample or
Slice and to apply various destructive audio processing functions to any part of the Sample.
Sample Editing can only be done in the Sampler plug-in, not using the Audio plug-in. If you want to
edit a Sample in the Audio plug-in, you must first switch it to a Sampler Plug-in, make the edit,
and then switch back to the Audio Plug-in again.
Which Sample Is Shown in the Edit Page?

The Edit page (EDIT page on your controller) always displays the Sample of the Zone currently
selected (see section ↑17.5.3, Selecting and Managing Zones in the Zone List for more infor-
mation on selecting Zones), and all your actions in that page will affect this particular Sample.
For example:

Editing a Sample
▪ If you have just recorded a Sample, it will directly appear here. If you have recorded more
than one Sample, the Sampled selected in the Recording History (by default the last re-
corded Sample) will appear here, see section ↑17.2.6, Checking Your Recordings for more
information on the Recording History.
▪ If the Sample in that Sound is already split into Slices, each Slice has its own Zone and
the Slice of the focused Zone will appear here. See section ↑17.4, Slicing a Sample for
more information on slicing Samples.
17.3.1 Using the Edit Page

► In the Sample Editor, click the Edit tab at the top to open the Edit page.
The Edit page looks as follows:
4
7
5 6
The Edit page in the software.

Editing a Sample

Shows the waveform of the Sample for the focused Zone. The waveform display provides fol-
lowing tools:
▪ Drag any Sample onto the waveform to replace the current Sample for the focused Zone. If
there is no Sample loaded yet, this automatically loads a Sampler Plug-in in the Sound and
creates a Zone over the entire key and velocity ranges for the dragged Sample.
(4).
▪ Play range: The S and E markers indicate the start and end points of the play range, re-
spectively. Drag them with the mouse to modify the portion of the Sample that will be
played back. This can also be done using the controls in the PLAY RANGE section (5).
▪ Loop range: If a loop has been defined in the Sample, it is also indicated on the waveform.
You can then adjust the loop by dragging its borders, and move the entire loop by dragging
its title bar. Loops can be created and adjusted in the Zone page — see section ↑17.5.4,
Selecting and Editing Zones in the Map View. Note that the loop will always stay within the
play range. Therefore, when moving the Sample’s start and end points closer to each other,
keep in mind that it might also shrink the loop!
▪ Playhead indicator: When the Sample is played back (e.g., by pressing the pad or by click-
ing the little play icon in the information bar (2)), a playhead indicator (white vertical line)
shows you the current play position within the waveform.
▪ Selection range: Click and drag your mouse to create a selection range. The selection range
defines the portion to which the audio processing functions of the Audio Toolbar (7) will be
applied. Adjust the current selection range by dragging its borders or move it by dragging
its top part. Double-click anywhere in the waveform to set the selection range to the play
range (i.e. to select everything between the S and E markers). You can also select particu-
lar ranges via the context menu (see below) and via the controls in the SELECTION RANGE
section (6).
▪ Context menu: Right-click (macOS: [Ctrl]-click) anywhere in the waveform to open a context
menu with the following commands:

Editing a Sample
Command Description
Deselect Cancels the current selection range.
Select All Selects the entire Sample.
Select Play Range Selects the play range, i.e. the region between the S and E markers.
This is equivalent to double-clicking anywhere in the waveform.
Select Loop Selects the loop range.
Save Sample As… Opens a Save Sample As dialog allowing to save the Sample under
another name and/or to another location on your computer.
(2) Information bar

Displays the file name and the length of the recorded Sample. Click and hold the little play
icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.6, Using the
Cue Bus for more information). Click the little circle (or pair of circle) at the far right to switch
the waveform display (1) between single-channel and two-channel display.
(3) Timeline
Shows the time scale in seconds.
waveform on the horizontal axis (time), or drag it vertically to zoom in/out on the same time
axis. You can also click the left or right handle of the scroll bar and drag it horizontally to zoom
in/out while keeping the opposite border of the display at a fix position in the waveform. Dou-
ble-click the main part of the bar to reset the zoom and display the entire waveform. Alterna-
tively you can use the scroll wheel of your mouse when hovering the waveform display (1) to
zoom in/out.
(5) PLAY RANGE section

Editing a Sample
Adjusts the range that will be played when you trigger a note. Adjust the play start and end
points in the Sample via the Start and End parameters. You can also do it by dragging the
white markers labeled S and E on the waveform display (1) using the mouse as described
above.
(6) SELECTION RANGE section
Adjusts the range to which audio processing functions will be applied. You can also select the
range by dragging your mouse on the waveform display (1) as described above.
(7) Audio Toolbar
Provides a set of destructive audio processing functions to modify your Sample. The functions
will be applied to the current selection range. The available functions are described in section
↑17.3.2, Audio Editing Functions below.
You can also edit the play and loop ranges on the Zone page. See section ↑17.5.6, Adjusting the
Zone Settings for more information.
Using the EDIT Page on Your Controller

► In Sampling mode, press Button 2 to access the EDIT page.
The EDIT page on the controller.
The right display shows the waveform of the selected Sample:

▪ Turn Knob 5 to zoom in on the waveform of the Sample and Knob 6 to scroll through it.
▪ Above the waveform, the information bar indicates the name and length of the Sample.

Editing a Sample
▪ The Sample can be played back at any time by pressing the corresponding pad on your
controller. When the Sample is played back, the playhead indicator (vertical line) shows
you the current play position within the waveform on the right display.
The parameters available at the bottom of the left display are spread over two pages.
► Use the Page buttons on the left of the displays to select the desired page.
Page 1 – PLAY RANGE Parameters

The parameters in the PLAY RANGE section allow you to adjust the range that will be played
back when you trigger a note.
The EDIT page on the controller, page 1 of 2: adjusting the play range of the Sample.
START (Knob 1) Adjusts the start point of the play range in the Sample.
END (Knob 2) Adjusts the end point of the play range in the Sample.
Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
In the waveform on the right display, the regions outside the play range are grayed out.
If a loop has been defined in the Sample, it is also indicated on the waveform. Loops can be creat-
ed and adjusted in the ZONE page — see section ↑17.5.4, Selecting and Editing Zones in the Map
View. Note that the loop will always stay within the play range. Therefore, when moving the Sam-
ple’s start and end points closer to each other, keep in mind that it might also shrink the loop!

Editing a Sample
Page 2 – SELECTION RANGE Parameters

The parameters in the SELECTION RANGE section allow you to adjust the range to which au-
dio processing functions will be applied.
START (Knob 1) Adjusts the start point of the selection range in the Sample.
END (Knob 2) Adjusts the end point of the selection range in the Sample.
On the right display, the selection range is highlighted.
Changing the play range automatically resets the selection range to the new play range.
Audio Editing
The EDIT page provides several audio editing functions to process your Sample. Available via
Button 5–8 above the right display, these functions are described in detail in the next section
↑17.3.2, Audio Editing Functions.
17.3.2 Audio Editing Functions

In the Edit page, the Audio Toolbar provides various audio functions. These will be performed
on the selected region of the Sample, as defined by the Start and End parameters of the SE-
LECTION RANGE section (see ↑17.3.1, Using the Edit Page above).
► To apply any audio function to the selected region in your Sample, click the desired icon
in the Audio Toolbar.
These audio editing functions are destructive, i.e. they modify the audio material in the Sample.
However, your original Sample will not be modified: For each audio function that you perform, a
new, distinct copy of the Sample will be saved!

Editing a Sample
The playback settings of the Sample (e.g., tune, amplitude envelope, etc.) can be adjusted on the
Zone page. See section ↑17.5.4, Selecting and Editing Zones in the Map View for more information.
The Audio Toolbar.
The Audio Toolbar provides following audio processing functions:
Command Description
TRUNCATE This deletes the part of the Sample that is outside of the selected
region.
NORM. (Normalize) This adjusts the level of the selected region to the maximum possible
value without clipping.
REVERSE This reverses the selected region of the Sample.
FADE IN This applies a fade in to the selected region of the Sample.
FADE OUT This applies a fade out to the selected region of the Sample.
DC CORRECT This removes the DC offset. DC offset (“Direct Current offset”) is an
undesirable constant shift in the signal level that might be
introduced by some audio processing units. This offset can notably
waste some of the available headroom.
SILENCE This silences the selected region of the Sample.
CUT This deletes the selected region from the Sample and places it into
the clipboard for later use.
COPY This copies the selected region of the Sample to the clipboard for
later use.
PASTE This pastes the cut/copied region of the Sample, replacing the region
of the Sample currently selected.

Editing a Sample
Command Description
DUPL. (Duplicate) This duplicates the selected region of the Sample. The copy is
placed right after the original region.
STRETCH This allows you to apply time stretching and/or pitch shifting to the
selected region of the Sample. See below for a detailed description.
Time Stretching / Pitch Shifting

When you select STRETCH in the Audio Toolbar, the bottom of the Edit page switches to the
following set of controls:
The stretch controls at the bottom of the Edit page.
These controls allow you to adjust the parameters of the time stretching / pitch shifting func-
tion before applying it to the selected region. Pitch shifting and time stretching can be applied
independently.
The following parameters are available:
STRETCH section
TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and
cents). Leave this value to 0.00 to leave the original pitch untouched.
FORMANT C Enables/disables the formant correction. Formant correction allows the
(Formant Correction) pitch-shifted audio to retain the timbre (or “color”) of the original
audio as much as possible. This is especially useful for melodic
instruments.

Editing a Sample
MODE Selects between Beat and Free mode:
In Beat mode, the new tempo is defined relative to the time signature
(the beats and bars) of the original audio. This can be useful if you
sampled a loop with a clearly defined rhythm (e.g., a drum loop).
In Free mode, the new tempo is defined independently from the time
signature of the source. This is more suited for non-rhythmic Samples.
In this mode only one parameter is available: SPEED (see below).
AUTO DTCT (Auto If enabled, MASCHINE automatically detects the tempo of the original
Detection, Beat audio.
mode only)
SRC BPM (Source Allows to define the tempo of the original audio (in BPM). This tempo
BPM, Beat mode is defined in different ways according to the AUTO DTCT value:
only)
If AUTO DTCT is enabled, you can set the length (in bars) of the
original audio. You can choose between 1/2, 1, and 2 bars. The
number between brackets indicates the resulting tempo (in BPM)
derived from the number of bars you have set and the computed
tempo value.
If AUTO DTCT is disabled, you can directly define the tempo of the
original audio (in BPM).
NEW BPM Defines the target tempo of the time-shifted audio (in BPM).
(Beat Mode only)

Editing a Sample
LENGTH (Stretch If AUTO DTCT is enabled, you can define the length of the target
Length, Beat mode audio (in bars). Please note that any change to the SRC BPM value
with Auto Detection (see above) will be automatically mirrored by this LENGTH value. Once
enabled only) you have set the number of bars in the source audio, you can set here
another number of bars, thereby dividing or multiplying the tempo of
the target audio. Available values are 1/16, 1/8, 1/4, 1/2, 1, 2, 4, and
8 bars, as well as the corresponding triplet values.
SPEED Adjusts the new tempo relative to the original tempo (in percentage).
The minimum value is 10 %.
(Free mode only)
In Beat mode, if you set a target tempo that is smaller than a tenth of the original tempo, the Apply
button will be disabled. Set a higher target tempo to enable the Apply button again!
► Once you have set the parameters to the desired values, click Apply to apply the pitch
shifting and/or time stretching to the selected region in the Sample, or Cancel to let the
Sample untouched.
Audio Editing Functions on the Controller

The EDIT page additionally provides several audio editing functions to process your Sample.
Audio editing functions on the right display of the controller.
1. Use Button 5 and 6 to select the desired audio function.

Editing a Sample
2. Press Button 8 to perform the selected audio function
→ The audio function will be performed on the selected region in your Sample, as defined by
the START and END parameters of the SELECTION RANGE section on page 2 (see
↑17.3.1, Using the Edit Page).
These audio processing functions are destructive, i.e. they modify the audio material in the Sample.
However, your original Sample will not be modified: For each audio function that you perform, a
new, distinct copy of the Sample will be saved!
The playback settings of the Sample (e.g., tune, amplitude envelope, etc.) can be adjusted on the
ZONE page. See section ↑17.5.4, Selecting and Editing Zones in the Map View for more informa-
tion.
Available functions are:
TRUNCATE This deletes the part of the Sample that is outside of the selected
region.
NORMALIZE This adjusts the level of the selected region to the maximum possible
value without clipping.
REVERSE This reverses the selected region of the Sample.
FADE IN This applies a fade in to the selected region of the Sample.
FADE OUT This applies a fade out to the selected region of the Sample.
FIX DC This removes the DC offset. DC offset (“Direct Current offset”) is an
undesirable constant shift in the signal level that might be
introduced by some audio processing units. This offset can notably
waste some of the available headroom.
SILENCE This silences the selected region of the Sample.
CUT This deletes the selected region from the Sample and places it into
the clipboard for later use.

Editing a Sample
COPY This copies the selected region of the Sample to the clipboard for
later use.
PASTE This pastes the cut/copied region of the Sample, replacing the region
of the Sample currently selected.
DUPLICATE This duplicates the selected region of the Sample. The copy is
placed right after the original region.
STRETCH This allows you to apply time stretching and/or pitch shifting to the
selected region of the Sample. See below for a detailed description.
Time Stretching / Pitch Shifting

When STRETCH is selected, pressing Button 7 (SETTINGS) allows you to adjust the parame-
ters of the time stretching / pitch shifting function before applying it to the selected region.
Use Knob 1–8 to adjust the parameters. Pitch shifting and time stretching can be applied in-
dependently.
Parameters for the Stretch function.
Following parameters are available via Knob 1–8:

Editing a Sample
STRETCH section
TUNE Adjusts the detuning (pitch shifting) to be applied (in semitones and
cents). Leave this value to 0.00 to leave the original pitch untouched.
FORMANT C Enables/disables the formant correction. Formant correction allows the
pitch-shifted audio to retain the timbre (or “color”) of the original
(Formant Correction)
audio as much as possible. This is especially useful for melodic
instruments.
MODE Selects from the two available time shifting modes.
BEAT: In Beat mode, the new tempo is defined relative to the time
signature (the beats and bars) of the original audio. This can be useful
if you sampled a loop with a clearly defined rhythm (e.g., a drum
loop).
FREE: In Free mode, the new tempo is defined independently from the
time signature of the source. This is more suited for non-rhythmic
Samples. In this mode only one parameter is available: SPEED (see
below).
AUTO DTCT If AUTO DTCT (Auto Detection) is enabled, MASCHINE automatically
detects the tempo of the original audio.
(Auto Detection,
Beat mode only)
SRC BPM SRC BPM (Source BPM) allows to define the tempo of the original
audio (in BPM). This tempo is defined in different ways according to
(Source BPM, Beat
the AUTO DTCT value:
mode only)
If AUTO DTCT is enabled, you can set the length (in bars) of the
original audio. You can choose between 1/2, 1, and 2 bars. The
number between brackets indicates the resulting tempo (in BPM)
derived from the number of bars you have set and the computed
tempo value.
If AUTO DTCT is disabled, you can directly define the tempo of the
original audio (in BPM).

Slicing a Sample
NEW BPM Defines the target tempo of the time-shifted audio (in BPM).
(Beat mode only)
LENGTH If AUTO DTCT is enabled, you can define the length of the target
audio (in bars). Please note that any change to the SRC BPM value
(Stretch Length,
(see above) will be automatically mirrored by this LENGTH value. Once
Beat mode with Auto
you have set the number of bars in the source audio, you can set here
Detection enabled
another number of bars, thereby dividing or multiplying the tempo of
only)
the target audio. Available values are 1/16, 1/8, 1/4, 1/2, 1, 2, 4, and
8 bars, as well as the corresponding triplet values.
SPEED Adjusts the new tempo relative to the original tempo (in percentage).
The minimum value is 10 %.
(Free mode only)
In Beat mode, if you set a target tempo (NEW BPM) that is smaller than a tenth of the original tem-
po (SRC BPM), Button 8 (APPLY) will be grayed out and disabled. Set a higher target tempo to ena-
ble the button again!
► Once you have set the parameters to the desired values, press Button 8 (APPLY) to apply
the pitch shifting and/or time stretching to the selected region in the Sample. If you don’t
want to use the Stretch function, press Button 7 (SETTINGS) again to switch back to the
audio function selection.
17.4 Slicing a Sample

Slicing allows you to chop up loops to extract single Sounds (the drum sounds of a drum loop
for example), but it's also good for preparing a loop to be played back at another tempo without
changing its pitch or timing. The resulting Slices can then be exported to different notes of the
same Sound or to different Sounds of the same Group.
The Slice page of the Sample Editor in the software and its equivalent the SLICE page of the
Sampling mode on your controller allow you to slice your Samples in various ways.
The typical workflow for slicing your Samples is as follows:

Slicing a Sample
1. Open the Slice page (SLICE page on the controller): ↑17.4.1, Opening the Slice Page.
2. Choose a method for slicing along with a few settings depending on the chosen method:
↑17.4.2, Adjusting the Slicing Settings.
3. If you wish, manually adjust the proposed Slices: ↑17.4.4, Manually Adjusting Your Sli-
ces.
4. Apply the slicing to your Sample and export the Slices — whether in place or to another
Sound/Group: ↑17.4.5, Applying the Slicing.
Which Sample Is Shown in the Slice Page?

The Slice page (SLICE page on your controller) always displays the Sample of the Zone cur-
rently selected (see section ↑17.5.3, Selecting and Managing Zones in the Zone List for more
information on selecting Zones), and all your actions in that page will affect this particular
Sample. For example:
▪ If you have just recorded a Sample, it will directly appear here. If you have recorded more
than one Sample, the Sampled selected in the Recording History (by default the last re-
corded Sample) will appear here — see section ↑17.2, Recording Audio for more informa-
tion on how to record Samples.
▪ You can also drag a Sample onto the focused Sound slot or directly to the Slice page from
the Browser or from your operating system. It will then appear on the page and replace any
Sample already loaded in that Sound.
17.4.1 Opening the Slice Page

In the software, slicing a Sample is done in the Slice page of the Sample Editor.
► In the Sample Editor, click the Slice tab at the top to open the Slice page.
The Slice page looks as follows:

Slicing a Sample
The Slice page in the software.
Opening the SLICE Page on Your Controller

► In Sampling mode, press Button 3 to access the SLICE page.
The SLICE page looks as follows:
The SLICE page 1 on the controller.

Slicing a Sample
17.4.2 Adjusting the Slicing Settings

At the bottom of the Slice page, you can adjust the settings used to define where the various
Slices will be created in the Sample.
Adjust the slicing settings at the bottom of the Slice page.
Any change to these settings will directly affect the number and position of the Slice markers
displayed on the waveform above.
At any time you can prelisten to the proposed Slices on the Cue bus (see section ↑13.2.6, Us-
ing the Cue Bus for more information) by pressing the lit pads or clicking the Slices on the
waveform display.
Following parameters are available:
SLICER Section
MODE Here you can select either Split, Grid, Detect or Manual:
Detect mode: The Sample will be sliced according to its transients.
Split mode: The Sample will be sliced into equally spread Slices.
Grid mode: The Sample will be sliced according to note values.
Manual mode: Manually enter slice points using the pads on your
controller, or adjust the start and end points of a slice.
SLICES (Split and When MODE is set to Split (see above), SLICES lets you choose the
Grid mode only) amount of Slices: 4, 8, 16 or 32.
When MODE is set to Grid (see above), SLICES lets you choose the
length of the Slices in note values: 4th, 8th,16th or 32nd notes.

Slicing a Sample
AUTO-SNAP (Manual The Sample Slicer Manual mode Auto-Snap feature automatically
mode only) aligns Slice points to the nearest transient as you manually trigger
the slicing from the pads. It can be turned off so that slice points are
instead placed exactly where you trigger them. In order to use Auto-
Snap, you must wait for analysis to be performed on the sample
you’re slicing—the analysis is very quick but will take longer for long
audio files.
SENSITIVITY (Detect When MODE is set to Detect (see above), SENSITIVITY lets you
mode only) adjust the sensitivity of the transient detection. Higher values will
cause more Slices to be detected because more transients will be
recognized, lower values will result in less Slices. This parameter
should be adjusted until all the musically significant slices are being
detected in the waveform.
APPLY Section
MONO The Sample Slicer Mono option when activated automatically sets
the Voice and Choke Group of all sample slices to 1 when slicing to a
Group.
This time saving feature is useful when you don’t want to have lots of
samples triggered or repeating at the same time, for example, when
you slice a drum loop and trigger the individual hits to form a new
pattern. When Mono is selected and the slices are applied to a
Group, the sampler polyphony is automatically set to 1 so only one
voice will play at a time. The Choke Group is also automatically set to
1 so each new pad that is hit will always take priority over the
previous one by cancelling it out. This behavior can be found on
vintage drum machines (typically used to “choke” the open hi-hat
with the closed one), but also in monophonic synthesizers that are
only capable of playing one note at a time.
BPM (BPM Mode) Selects how the tempo is defined: If you select Auto, MASCHINE will
calculate the tempo automatically. If you select Manual, you can
enter the tempo in BPM manually.

Slicing a Sample
ADJUST If BPM is set to Auto, you can choose between the tempo that
MASCHINE detected, or half or double of that tempo. If BPM is set
to Manual, you can adjust the tempo manually.
ENGINE Section (Detect mode only)
ZERO-X (Zero When MODE is set to Detect, activate ZERO-X to force the detected
Crossing, Detect mode Slices to be created on the closest locations where the audio signal
only) crosses the zero value. This can be helpful to avoid clicks when
playing back Slices in another sequence.
Adjusting the Slicing Settings on the Controller

At the bottom of the left display, you can adjust the settings used to define where the various
Slices will be created in the Sample.
Adjust the slicing settings via Knob 1–4.
Any change to these settings will directly affect the number and position of the Slice markers
shown in the waveform on the displays.
Selecting and Pre-Listening the Slices with the Pads

At any time, the proposed Slices are also available on your pads: The fully lit pad indicates the
selected Slice, while the dim lit pads indicate the other Slices.
► Press any fully or dim lit pad to play back the corresponding Slice on the Cue bus (see
section ↑13.2.6, Using the Cue Bus for more information).

Slicing a Sample
For more information on the Cue channel, please refer to section ↑13.2.6, Using the Cue Bus.
If there are more than 16 Slices, you can select which set of 16 Slices should be triggered by
your pads:
► If there are more than 16 Slices, press SHIFT + Button 7 or 8 to switch your pads to the
previous/next 16 Slices, respectively.
Note that we haven’t applied any slicing yet: For now your pads only allow you to prelisten how the
proposed would sound after you apply the slicing. Applying the slicing will be described in section
↑17.4.5, Applying the Slicing.
Slicing Parameters
TIME Section
MODE Here you can select either DETECT, SPLIT, GRID, or MANUAL:
Detect mode: The Sample will be sliced according to its transients.
Split mode: The Sample will be sliced into equally spread Slices.
Grid mode: The Sample will be sliced according to note values.
Manual mode: Manually enter slice points using the pads on your
controller, and edit the start and end points of a slice.
SLICES (Split and When MODE is set to SPLIT (see above), SLICES lets you choose the
Grid mode only) amount of Slices: 4, 8, 16 or 32.
When MODE is set to GRID (see above), SLICES lets you choose the
length of the Slices in note values: 4th, 8th,16th or 32nd notes.

Slicing a Sample
AUTO-SNAP (Manual The Sample Slicer Manual mode Auto-Snap feature automatically
mode only) aligns Slice points to the nearest transient as you manually trigger
audio files.
SENSITIVITY (Detect When MODE is set to DETECT (see above), SENSITIVITY lets you
mode only) adjust the sensitivity of the transient detection. Higher values will
cause more Slices to be detected because more transients will be
recognized, lower values will result in less Slices. This parameter
should be adjusted until all the musically significant slices are being
detected in the waveform.
BPM (BPM Mode) Selects how the tempo is defined: If you select AUTO, MASCHINE
will calculate the tempo automatically. If you select MANUAL, you
can enter the tempo in BPM manually.
ADJUST If BPM is set to AUTO, you can choose between the tempo that
MASCHINE detected, or half or double of that tempo. If BPM is set
to MANUAL, you can adjust the tempo manually.
When MODE is set to DETECT, a second section of parameters is available at the bottom of the
left display: the ENGINE section.
► When MODE is set to DETECT, press the Right Page button to show the ENGINE section.

Slicing a Sample
The ENGINE section.
This ENGINE section contains a single parameter: ZERO-X.
ENGINE Section (Detect mode only)
ZERO-X (Zero When MODE is set to DETECT, activate ZERO-X to force the detected
Crossing, Detect mode Slices to be created on the closest locations where the audio signal
only) crosses the zero value. This can be helpful to avoid clicks when
playing back Slices in another sequence.
17.4.3 Live Slicing

Live Slicing is a quick and intuitive way to add slices to a sample using the pads on your con-
troller. The first pad is used to trigger the sample and the subsequent pads are used to add
slice points as required. If necessary, the start and end points of the slices can then be fine-
tuned using Edit mode.
Live Slicing is only available from your MASCHINE controller.
17.4.3.1 Live Slicing Using the Controller

To manually add Slices to a sample using the pads on your controller:
1. Press the SAMPLING button to enter the Sampling page.

Slicing a Sample
2. Press Button 3 to select SLICE to open the SLICE tab.

3. Turn Knob 1 to select Manual mode.
4. Press Pad 1 to add the first Slice to the sample.
5. Press Pad 2 to add the second slice point.
6. Continue to press subsequent pads as they flash to add more slices.
→ When playback of the sample stops you may fine-tune the start and end points of your
slices by entering EDIT mode.
Press SHIFT + MUTE if you want to stop playback of a long sample.
Press SHIFT + Button 7 and 8 to access each bank of Slices.
17.4.3.2 Delete All Slices

The DELETE ALL option in SAMPLING EDIT mode is a quick and convenient way to delete all
Slices at once from a sample using your controller.
17.4.4 Manually Adjusting Your Slices

In addition to the Detect, Split, Grid, and Manual modes that create Slices automatically (see
section ↑17.4.2, Adjusting the Slicing Settings above), you can also adjust Slices manually us-
ing your mouse, the waveform display, and the various edit tools at your disposal.
You can directly adjust your Slices manually by selecting Manual in the MODE selector, or start
from MASCHINE’s proposed Slices as described in section ↑17.4.2, Adjusting the Slicing Settings
and fine-adjust these Slices manually — in that case the MODE selector automatically switches to
Manual.

Slicing a Sample
2
5
Manually adjusting your Slices.

Shows the selected Sample with a couple of spread vertical lines in the waveform: this is
where the Slices are going to be applied (i.e. cut).
▪ Hover a Slice with the mouse to select it (it is highlighted). Little “S” and “E” markers ap-
pear at the bottom of the Slice borders to indicate the start and end point of that Slice,
respectively.
(2).
▪ When the entire Sample or a particular Slice is played back, a playhead indicator (white ver-
tical line) shows you the current play position within the waveform.
▪ Context menu: Right-click (macOS: [Ctrl]-click) anywhere in a Slice to open a context menu
with the following commands:

Slicing a Sample
Command Description
Save Sample As… Opens a Save Sample As dialog allowing to save the Slice under as a
distinct file on your computer.
By default, you can adjust Slices with your mouse as follows:

▪ Click inside a Slice (i.e. anywhere between its borders) to play it back on the Cue bus (see
section ↑13.2.6, Using the Cue Bus for more information).
▪ Drag the borders of a Slice to adjust them. You have two possibilities:
◦ If the end point of the previous Slice and the start point of the next Slice are joined,
drag the border’s vertical line to move both the end point of the previous Slice and the
start point of the next Slice together, so that both Slices stay joined.
◦ Drag the little “S” (or “E”) marker at the bottom of the vertical line to move the start
(or end) point of a Slice independently of the end (or start) point of the previous (or
next) Slice. If you want this border to stick again with that of the previous (or next)
Slice, drag the vertical line (instead of the “S”/“E” marker) toward that of the previ-
ous (or next) Slice.
By moving the start and end points of Slices independently, you can create overlapping Slices or
gaps between Slices.
These default mouse actions are valid only if the SLICE and REMOVE buttons are disabled in
the edit tools (5). Enabling any of them provides alternative mouse controls described below.
waveform on the horizontal axis (time), or drag it vertically to zoom in/out on this time axis.
You can also click the left or right handle of the scroll bar and drag it horizontally to zoom in/
out while keeping the opposite border of the display at a fix position in the waveform. Double-
click the main part of the bar to reset the zoom and display the entire waveform. Alternatively
you can use the scroll wheel of your mouse when hovering the waveform display (1) to zoom in/
out.

Slicing a Sample
(3) Timeline
(4) Information bar
Displays the file name and the length of the selected Sample. Click and hold the little play
icon on the left to play back the whole Sample on the Cue bus (see section ↑13.2.6, Using the
Cue Bus for more information). Click the little circle (or pair of circle) at the far right to switch
the waveform display (1) between single-channel and two-channel display.
(5) Edit tools
The three buttons in the edit tools allow you to add or remove Slices:
▪ SLICE: When the SLICE button is enabled, the default mouse behavior in the waveform
display is replaced by the following:
◦ Click inside a Slice to split it into two Slices at that location.
◦ Adjust the borders of existing Slices as described above in the waveform display (1).
▪ REMOVE: When the REMOVE button is enabled, over the waveform display the mouse
pointer turns into a rubber icon and the default mouse actions are replaced by the follow-
ing:
◦ Click the start border of a Slice to delete that border and merge the Slice with the pre-
vious one.
◦ Click inside a Slice (i.e. anywhere between its borders) to remove the entire Slice. The
corresponding part of the Sample is grayed out and won’t be exported as Slice.
▪ DELETE ALL: Click the DELETE ALL button to delete all proposed Slices and start slicing
from scratch again.
The SLICE and REMOVE buttons are mutually exclusive.
With SLICE or REMOVE enabled, you can still prelisten to your individual Slices by pressing the
corresponding pads on your controller!

Slicing a Sample
Manually Adjusting Slices Using Your Controller

Your controller provides a dedicated Slice Edit mode that allows you to select and fine-tune
each particular Slice.
After creating slices in Live Slice mode (refer to ↑17.4.3, Live Slicing) use the following steps
to edit them:
1. In SLICE mode:
2. Press the right page button to access Page 2 Edit.
3. Turn Knob 1 to select a slice to edit.
4. Turn Knob 3 to trim the start of the selected slice.
5. Turn Knob 4 to trim the end of the selected slice.
6. Press Button 8 to apply the slice.
The Edit mode in the SLICE page.
Use the page button to access the following parameters and commands:

Slicing a Sample
Page / Parameter Description

Slicer Page
Mode Select the Slicer edit mode.
AUTO-SNAP The Sample Slicer Manual mode Auto-Snap feature automatically
aligns Slice points to the nearest transient as you manually trigger
audio files.
Edit Page
SLICE (Knob 1) Selects the Slice to edit. The display will show you which Slice is
currently selected. You can also use the pads to select Slices starting
from pad 1.
START (Knob 3) Adjusts the start point of the selected Slice. Hold SHIFT when
turning the Knob to adjust the parameter in finer increments. If the
start point of the Slice and the end point of the previous Slice are
still joined, moving the start point of the Slice simultaneously moves
the end point of the previous Slice, so that both Slices stay joined.
END (Knob 4) Adjusts the end point of the selected Slice. Hold SHIFT when turning
the Knob to adjust the parameter in finer increments. Note that
moving the end point of a Slice does not simultaneously move the
start point of the next Slice — in opposition to adjusting the START
Apply Page
MONO The Sample Slicer Mono option when activated automatically sets
the Voice and Choke Group of all sample slices to 1 when slicing to a
Group.
This time saving feature is useful when you don’t want to have lots of
samples triggered or repeating at the same time, for example, when
you slice a drum loop and trigger the individual hits to form a new

Slicing a Sample
Page / Parameter Description

pattern. When Mono is selected and the slices are applied to a
Group, the sampler polyphony is automatically set to 1 so only one
voice will play at a time. The Choke Group is also automatically set to
1 so each new pad that is hit will always take priority over the
previous one by cancelling it out. This behavior can be found on
vintage drum machines (typically used to “choke” the open hi-hat
with the closed one), but also in monophonic synthesizers that are
only capable of playing one note at a time.
PATTERN This will create a new pattern or replace the existing once the slices
have been applied.
BPM Available when Create or Replace is selected in the PATTERN
parameter. Selects how the tempo is defined: If you select Auto,
MASCHINE will calculate the tempo automatically. If you select
Manual, you can enter the tempo in BPM manually.
ADJUST Available when Create or Replace is selected in the PATTERN
parameter. If BPM is set to Auto, you can choose between the tempo
that MASCHINE detected, or half or double of that tempo. If BPM is
set to Manual, you can adjust the tempo manually.
Button 5, 6, 7 and 8
SPLIT (Button 5) Splits the sample in half, or adds a Slice during sample playback.
REMOVE (Button 6) Removes the start border of the selected Slice, thereby joining this
Slice with the previous Slice.
DELETE ALL Removes all Slices.
(Button 7)
APPLY… (Button 8) Applies the Slices.

Slicing a Sample
17.4.5 Applying the Slicing

Once you are satisfied with the proposed and/or manually adjusted Slices (see section
↑17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the
original Sample and create these Slices. This is done via the three elements at the bottom
right of the Slice page:
3 1 2
You can apply the slicing in various ways.
(1) Apply button

Exports the Slices to the same Sound. If you click Apply, the Slices will be mapped to individ-
ual notes of this Sound, the Sample Editor will be replaced by the Pattern Editor in Keyboard
view, and the pads of your controller will switch to Keyboard mode so that you can directly play
your Slices on the pads. Additionally, depending on the setting of the Pattern Creation selector
(3), some notes can be automatically created for each Slice (see below).
(2) Slice Dragger
Drag the Slice Dragger to export the Slices to any other Sound or Group:

Slicing a Sample
▪ If you drag to a Sound (in the Sound List at the left of the Sample Editor):
◦ The Slices will be mapped to individual notes of this Sound, starting with the bottom
C (C-2 in MASCHINE convention). The base key of the Sound will be set to the bot-
tom C as well (see section Adjusting the Base Key for more information on the base
key). Any previous content in the Sound will be replaced.
◦ The Sample Editor will be replaced by the Pattern Editor in Keyboard view.
◦ The pads of your controller will switch to Keyboard mode so that you can directly play
your Slices on the pads.
◦ Depending on the setting of the Pattern Creation selector (3), notes will be automati-
cally created for each Slice (see below).
In other words, the Apply button (1) is just a shortcut for dragging the Slice Dragger to the focused
Sound itself!
▪ If you drag to a Group (in the Group List at the left of the Arranger):
◦ The Slices will be mapped to individual Sound slots, replacing their current content (if
any). Only the first 16 Slices will be exported.
◦ The Sample Editor will be replaced by the Pattern Editor in Group view.
◦ The pads of your controller will switch to Group mode so that you can directly play
your Slices on the pads.
◦ Depending on the setting of the Pattern Creation selector (3), notes will be automati-
cally created for each Slice (see below).
(3) Pattern Creation selector
Selects from three modes controlling the automatic note creation upon Slice export. The mode
selected here will be used both when clicking the Apply button (1) and when using the Slice
Dragger (2). Following options are available:
▪ Create Pattern (default setting): Upon Slice export a new Pattern will be created with one
note for each pitch (if Slices are exported to a Sound) or one note for each Sound (if Slices
are exported to a Group) so that the Pattern reproduces the original, unsliced Sample.

Slicing a Sample
▪ Replace Pattern: Upon Slice export a sequence of notes will be created in the current Pat-
tern so that the Pattern reproduces the original, unsliced Sample. If the sequence is short-
er than the current Pattern it will be repeated to fill the Pattern; if the sequence is longer
than the Pattern the Pattern will be extended according to the Pattern Grid and the content
of other Sounds will be repeated.
◦ If Slices are exported to a Sound, the sequence of notes will contain one note for each
pitch. Any existing notes for that Sound will be replaced. Notes for other Sounds in
the Pattern will stay untouched.
◦ If Slices are exported to a Group the sequence of notes will contain one note for each
Sound containing a Slice. Any existing notes for these Sounds will be replaced. Notes
for other Sounds in the Pattern will stay untouched.
▪ No Pattern: No Pattern is created, and the current Pattern is left untouched.
Play around with the slicing feature by removing some of these notes, quantizing or completely rear-
ranging them!
The notes in the picture above represent the Slices and trigger them in order to play the Sam-
ple with correct timing and pitch. If you change the tempo of your Project, you will hear that
the loop automatically adjusts to the new tempo.
Exporting Single Slices

You can also export an individual Slice to another Sound by drag-and-drop:

Slicing a Sample
Dragging an individual Slice to another Sound.
Applying a Sliced Sample to a Sound

If you drag a Slice to a Group in the Group List (at the left of the Arranger), it will be exported
to the first Sound slot of that Group. Any Sound loaded in that Sound slot will be replaced.
When applying a sliced sample to a Sound in an otherwise empty Group, the root note of the
Sounds in that Group is set to C-2, matching the key zones of the slices.
The root note parameter is shared among all Sounds in a Group. However, when applying slices
to a Sound, these slices will always start at the lowest possible note, to make room for the
maximum number of slices. If you already have Sounds in a Group, the root note is not
changed after applying slices, in order to not change the behavior of the existing Sounds. This
will, however, lead to a mismatch in how you accessed slices across Pads in the Sampling /
Slice tab and how they are laid out in the Sound you applied them to. You will typically play a
root note of C3 with Pad 1, while the lowest slice will start at C-2. To avoid this mismatch, and
to access slices on a Sound exactly as you created them in the Sampling / Slice screen, apply
slices to a Sound in a Group where you have not loaded anything to the other Sounds. This
also works when you start by loading a Sample into a Sound in a Group where you have not yet
loaded anything else.

Slicing a Sample
Exporting the Slices on the Controller

Once you are satisfied with the proposed and/or manually adjusted Slices (see section
↑17.4.2, Adjusting the Slicing Settings), you can apply the slicing in order to actually cut the
original Sample and create these Slices. This is done via the two commands at the top of the
right display: APPLY… (Button 8).
Choosing a Destination for the Slices

► Press Button 8 (APPLY…) to export the Slices to any Sound or Group in your Project.
→ The displays switch to a Selection mode allowing you to choose a destination for the ex-
ported Slices.
Selecting a target for the exported Slices.
In this Selection mode, you can choose to export the Slices to a Sound or to a Group.
To export the Slices to a Sound:
1. Select the Group containing the target Sound by pressing its Group button A–H. If your
Project has more than eight Groups, you can use Button 3 and 4 to first select the desired
Group bank.
The selected Group button starts flashing and the corresponding Group is highlighted on
the left display. In addition the pads now represent the Sound slots of that Group.
2. Select the target Sound by pressing its pad.
The Group button stops flashing, the selected pad starts flashing to indicate that it is now
the target.

Slicing a Sample
3. Press Button 8 (OK) to export the Slices.
→ The Slices will be mapped to individual notes of the selected Sound, starting with the
bottom C (C-2 in MASCHINE convention). The base key of the Sound will be set to the
bottom C as well (see section Adjusting the Base Key for more information on the base
key). Any previous content in the Sound will be replaced. Your controller will leave Sam-
ple mode and return to Control mode. The pads will switch to Keyboard mode so that you
can directly play your Slices on the pads. Additionally, depending on the setting of the
Pattern Creation selector in the Slice page of the software, notes will be automatically cre-
ated for each Slice (see above for more information).
To export the Slices to a Group:
1. Select the desired Group by pressing its Group button A–H. If your Project has more than
eight Groups, you can use Button 3 and 4 to first select the desired Group bank.
The selected Group button starts flashing and the corresponding Group is highlighted on
the left display.
2. Press Button 8 (OK) to export the Slices.
→ The Slices will be mapped to individual Sound slots, replacing their current content (if
any). Only the first 16 Slices will be exported. Your controller will leave Sample mode and
return to Control mode. The pads will switch to Group mode so that you can directly play
your Slices on the pads. Additionally, depending on the setting of the Pattern Creation se-
lector in the Slice page of the software, notes will be automatically created for each Slice
(see below).
At any time you can press Button 7 (CANCEL) to cancel the export and return to the SLICE page.
Exporting a Single Slice

Instead of exporting all Slices, you can also export the selected Slice only:
1. Press Button 7 (APPLY TO).
The controller switches to the Selection mode described above.
2. Press Button 5 (SINGLE) to export the selected Slice only.
3. Choose the target Sound or Group as described above.

Mapping Samples to Zones
4. Press Button 8 (APPLY) to export the selected Slice.
APPLY: Exporting the Slices to the Same Sound

► On the SLICE page, press Button 8 (APPLY) to export all Slices to the focused Sound it-
self.
→ The Sample currently loaded in that Sound will be replaced by its own Slices, each of
them being mapped to a particular note.
This is equivalent to pressing Button 7 (APPLY TO) and selecting the Sound in which you al-
ready are preparing the Slices.
17.5 Mapping Samples to Zones

Mapping Samples is a way to create Sounds with more than one Sample across the MIDI key-
board and with different velocities. You can create and adjust Zones that define a key (or pitch)
range and a velocity range for each Sample included in the Sound. In other terms, the Sample
will be triggered only if the played note is within its Zone’s key range and velocity range.
The Zones can overlap, allowing you to trigger different Samples at once or triggering different
Samples depending on how hard you hit the pads. You can adjust various playback settings for
the Sample of each Zone individually. The set of all Zones define the Sample Map (or “Map” for
short) of the Sound.
17.5.1 Opening the Zone Page

Mapping is done in the Zone page of the Sample Editor.
► Select a Sound slot, then open the Sample Editor (by clicking the button with the wave-
form icon on the left of the Pattern Editor), and click the Zone tab to show the Zone page.

The Zone page (here for an empty Sound).
Opening the ZONE Page on Your Controller

► In Sampling mode, press Button 4 to access the ZONE page.
The ZONE page on the controller.
17.5.2 Zone Page Overview

The Zone page provides following elements:

1 2
3
4
6
The Zone page: an overview.
(1) Zone List button: Shows/hides the Zone List (4).

(2) Sample View button: Switches the Zone page between Map view and Sample view (5).
(3) Information bar: Displays the file name and the length of the Sample in the focused Zone.
Click and hold the little play icon on the left to play back the whole Sample on the Cue bus
(see section ↑13.2.6, Using the Cue Bus for more information). Click the little circle (or pair of
circle) at the far right to switch the waveform display (1) between single-channel and two-
channel display.
(4) Zone List: Shows all Zones in a list. The Zone List can be shown/hidden by clicking the
Zone List button (1). Click an entry in the list to set the focus to that Zone. You can also select
multiple Zones, move them via drag and drop, and add/delete Zones in the list. See section
↑17.5.3, Selecting and Managing Zones in the Zone List for a complete description of the
Zone List.
(5) Map view / Sample view: The Map view is the default view (pictured above). It shows and
lets you edit all Zones contained in your Sound. The Sample view shows the waveform of the
Sample for the focused Zone and lets you edit some of its settings. Click the Sample View but-

ton (2) to switch between the Map view and the Sample view (the Sample view is visible when
the Sample View button is enabled). The Map and Sample views are explained in detail in sec-
tion ↑17.5.4, Selecting and Editing Zones in the Map View and ↑17.5.5, Editing Zones in the
Sample View, respectively.
(6) Zone settings: Displays the parameters for the focused Zone. See section ↑17.5.6, Adjusting
the Zone Settings for a detailed description of the available parameters.
17.5.3 Selecting and Managing Zones in the Zone List

The Zone List shows all Zones of the focused Sound.
The Zone List in the Zone page.
► Click the Zone List button next to the Slice tab to show/hide the Zone List.
The Zone List allows you to add, remove, replace, select, and reorder Zones in the list.
You can adjust the width of the Zone List by dragging its right border.
Adding a New Zone to the Zone List

You can add a new Zone to the Zone List in two ways:

► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system
onto the empty area in the Zone List.
or
1. Click the “+” at the end of the Zone List.
A Load Sample dialog opens up.

2. Navigate to the desired audio file on your operating system and press [Enter] to confirm.
→ A new Zone is created at the end of the list containing the dragged or selected Sample.
You can drag and drop several Samples at once: It will creates as many new Zones!
You can also add Zones to your Sound by dragging and dropping Samples directly onto the Sample
Map of the Map view. See section ↑17.5.7, Adding Samples to the Sample Map for more on this.
Replacing the Sample of an Existing Zone

You can also put a new Sample into an existing Zone, thereby replacing the Sample currently
contained in that Zone. Again, you have two methods at your disposal:
► Drag a Sample from the Browser’s LIBRARY or FILES pane or from your operating system
onto the desired entry in the Zone List.
or

1. Right-click ([Ctrl]-click on macOS) the desired entry in the Zone List and select Load
Sample… in the menu that opens.
A Load Sample dialog opens up.

2. Navigate to the desired audio file on your operating system and press [Enter] to confirm.
→ The dragged or selected Sample replaced the previous Sample in the target Zone.
Selecting a Zone in the List

► Click any Zone entry in the Zone List to put it under focus.
→ The focused Zone gets highlighted in color both in the list and in the Map view (if visible).
In addition:
▪ The focused Zone is displayed in the Sample view and its settings appear in the Zone set-
tings at the bottom of the page. See section ↑17.5.6, Adjusting the Zone Settings for more
information on these settings.
▪ The focused Zone also appears on the Edit and Slice pages, which allows you to further
process of its contained Sample. For more information on the Edit and Slice pages, please
refer to section ↑17.3, Editing a Sample and ↑17.4, Slicing a Sample, respectively.
Selecting Multiple Zones in the List

You can select several Zones in the list at once using the common methods of your operating
system. The basic rules for multiple selection are the following:
▪ The focused Zone is automatically selected. It is highlighted in the color of the Sound and
its waveform and parameters are displayed in the Slice page’s Sample view and Zone set-
tings as well as on the Edit and Slice pages.

▪ The other selected Zones are highlighted in white. Their settings are not displayed any-
where, however they will be affected by your actions in the Zone List and in the Map view
(see section ↑17.5.4, Selecting and Editing Zones in the Map View for more on this).
Mouse/Keyboard Action Command

Multiple Selection
Hold [Ctrl] ([Cmd] on macOS) and Selects all clicked Zones. Click a selected Zone to
click several entries in the list deselect it (i.e. remove it from the selection).
Hold [Shift] and click two entries Selects both Zones and all Zones in-between.
Press [Ctrl]+[A] ([Cmd]+[A] on Selects/deselects all Zones in the list. When
macOS) deselecting, only the focused Zone remains selected.
Deleting Zones from the List

To remove one or more Zone(s) from the Zone List:
1. Select the Zone(s) you want to remove.
2. Press [Del] or [Backspace] on your computer keyboard.
→ The selected Zones are removed from the Zone List and from the Sample Map, and the
corresponding Samples are not used in the Sound anymore.
After you have selected the Zone(s) you want to remove, you can also use the context menu:
1. Select the Zone(s) you want to remove.
2. Right-click ([Ctrl]-click on macOS) any of the selected Zones.
A menu opens up.

3. In that menu selects Delete to remove the focused Zone only, or Delete Selected to re-
move all selected Zones.
Moving Zones in the List

You can move your Zones across the Zone List via drag and drop:
1. Select the Zone(s) you want to move.
2. Click and hold the mouse button, and drag your mouse vertically.
As the mouse pointer moves, an insertion line appears at various places between the ex-
isting entries.
3. When the insertion line indicates the desired location, release the mouse button to drop
the selected Zone(s) to this new place.
Moving Zones allow you to reorder the Zone List. This can come in handy before you run the Map as
Drum Kit command from the Sample Map’s context menu, so that your Samples are well ordered in
the new mapping. See section ↑17.5.4, Selecting and Editing Zones in the Map View for more in-
formation on the Sample Map.
Selecting and Managing Zones on Your Controller

You can select and remove Zones on your controller.
Selecting a Zone
► On the ZONE page of Sampling mode, press Button 7 (PREVIOUS) or 8 (NEXT) to set the
focus to the previous or next Zone in the Zone List, respectively.
→ The waveform of the Sample in this focused Zone appears on the right display, and the
Zone settings appear at the bottom of the left display.

Multiple selection is not possible from the controller. Hence, setting the focus to the previous/next
Zone automatically deselects any other Zone, the focused Zone now being the only selected Zone.
The Sample can be played back on the Cue channel at any time by pressing the corresponding
pad on your controller. When the Sample is played back, the Playhead indicator (vertical line)
shows you the current play position within the waveform on the right display.
For more information on the Cue channel, please refer to section ↑13.2.6, Using the Cue Bus.
Removing a Zone
► On the ZONE page of Sampling mode, press Button 5 (REMOVE) to remove the focused
Zone from the Sound.
17.5.4 Selecting and Editing Zones in the Map View

The Map view is visible when the Sample View button (showing a little waveform icon at the
right of the Zone tab) is disabled.
Disable the Sample View button to see the Map view.
The Map view contains following elements:

3
The Map view of the Zone page.
(1) Sample Map

The Sample Map shows all Zones contained in your Sound.
▪ The horizontal axis represents keys (or pitches) from C-2 to G8, while the vertical axis rep-
resents velocities from 0 to 127.
▪ Each Zone is depicted as a rectangle defining a specific key range (the rectangle’s width)
and a velocity range (the rectangle’s height). Any note played within these key and velocity
ranges will trigger the Sample of that Zone.
▪ You can zoom in/out both horizontally and vertically via the zooming scroll bars (3) and (4),
respectively.
▪ Each Zone header displays the name of the corresponding Sample.
▪ Click a Zone in the Map to put it under focus. The focused Zone is highlighted; its informa-
tion and parameters are displayed in the Zone settings at the bottom of the Zone page.
▪ You can select multiple Zones at once: All your mouse actions within the Map view (mov-
ing, resizing, etc.) will affect all selected Zones — see the next paragraph for more details
on the available selection and edit commands in the Map.

You can also add a Sample by dragging it directly onto the Sample Map. See section ↑17.5.7, Add-
ing Samples to the Sample Map for more information.
(2) Virtual keyboard

Below the Mapping view, the virtual keyboard represents the entire key scale. The root note of
the selected Zone is indicated by the colored key. You can drag this key with the mouse to
modify the root key.
(3) Horizontal zooming scroll bar
Sample Map on the horizontal axis (pitch), or drag it vertically to zoom in/out on this pitch ax-
is. You can also click the left or right handle of the scroll bar and drag it horizontally to zoom
in/out while keeping the opposite border of the display at a fix position in the Sample Map.
Double-click the main part of the bar to reset the zoom and display the entire pitch range.
(4) Vertical zooming scroll bar
Click the main part of the scroll bar and drag your mouse vertically to scroll through the Sam-
ple Map on the vertical axis (velocity), or drag it horizontally to zoom in/out on this velocity ax-
is. You can also click the top or bottom handle of the scroll bar and drag it vertically to zoom
in/out while keeping the opposite border of the display at a fix position in the Sample Map.
Double-click the main part of the bar to reset the zoom and display the entire velocity range.
Available Actions in the Map

You can select and edit Zones with your mouse and your keyboard in the Map. Following ac-
tions are available:

Selection Commands
Click a Zone Puts this Zone under focus. The focused Zone is
highlighted. You can edit the focused Zone and the
playback settings of its Sample via the Zone settings
at the bottom of the Zone page, as well as process the
Sample’s audio material on the Edit page and/or slice
the Sample on the Slice page.


Hold [Ctrl] ([Cmd] on macOS) and Selects all clicked Zones. Click a selected Zone to
click several Zones deselect it (i.e. remove it from the selection).
Hold [Shift] and click two Zones Selects both Zones and all Zones in-between.
Click and drag a selection frame in Selects all Zones within or overlapping the frame.
the Sample Map
Press [Ctrl]+[A] ([Cmd]+[A] on Selects/deselects all Zones. When deselecting, only
macOS) the focused Zone remains selected.
Edit Commands
Drag the left/right border of a Zone Adjusts the key range for the selected Zones.
Drag the higher/lower border of a Adjusts the velocity range for the selected Zones.
Zone
Drag a corner of a Zone Simultaneously adjusts the lowest/highest note and
the lowest/highest velocity of the selected Zone(s) —
depending on the corner.
Click inside a Zone and drag Moves the selected Zone(s) across the Sample Map.
Note that the Root Key of each Zone is moved
accordingly.
Double-click a Zone Extends the key and velocity ranges of the Zone so
that it fits the key and velocity limits of the neighbor
Zones. This can be very useful to quickly fill up any
key or velocity gap between Zones.
Right-click ([Cmd]-click on macOS) a Opens the Sample Map menu (see below).
Zone
Press [Del] or [Backspace] Removes the selected Zone(s) from the Sample Map.
You can also adjust the key and velocity ranges in the Zone settings at the bottom of the Zone page.
See ↑17.5.6, Adjusting the Zone Settings for a detailed description.

For more information on the Edit and Slice pages, please refer to section ↑17.3, Editing a Sample
and ↑17.4, Slicing a Sample, respectively.
Sample Map Menu

The Sample Map menu contains additional editing facilities.
► Right-click ([Ctrl]-click on macOS) a Zone to open the Sample Map menu.
The commands in the Sample Map menu will affect all selected Zones. The menu provides fol-
lowing commands:
Command Description
Delete Removes the selected Zone(s) from the Sample Map.
Map as Drum Kit Reduces the selected Zones to one note over the full velocity range
and puts the Zones next to each other upwards from the middle C
(C3). The actual note assigned to each Zone depends on the Zone
position in the Zone List: The topmost Zone will be mapped to
middle C (C3), the Zone underneath to C#3, etc.
17.5.5 Editing Zones in the Sample View

The Sample view is visible when the Sample View button (showing a little waveform icon at the
right of the Zone tab) is enabled.
Enable the Sample View button to see the Sample view.
The Sample view contains following elements:

1 2
4 3
The Sample view of the Zone page.

Shows the waveform of the Sample for the focused Zone. The waveform display provides fol-
lowing tools:
(3).
▪ Play range markers (4) and loop markers (5): See below.
▪ Playhead indicator: When the Sample is played back (e.g., by pressing the pad or by click-
ing the little play icon in the information bar above the waveform), a playhead indicator
(white vertical line) shows you the current play position within the waveform.
▪ Context menu: Right-click (macOS: [Ctrl]-click) anywhere in the waveform to open a context
menu with the following commands:

Command Description
Save Sample As… Opens a Save Sample As dialog allowing to save the Sample of the
focused Zone under another name and/or to another location on your
computer.
(2) Timeline
waveform on the horizontal axis (time), or drag it vertically to zoom in/out on this time axis.
You can also click the left or right handle of the scroll bar and drag it horizontally to zoom in/
out while keeping the opposite border of the display at a fix position in the waveform. Double-
click the main part of the bar to reset the zoom and display the entire waveform. Alternatively
you can use the scroll wheel of your mouse when hovering the waveform display (1) to zoom in/
out.
(4) Play range markers
The S and E markers indicate the start and end points of the play range, respectively. Drag
them with the mouse to modify the portion of the Sample that will be played back. This can
also be done in the PLAY RANGE section of the Zone settings, under the waveform display
(see section ↑17.5.6, Adjusting the Zone Settings).
(5) Loop markers
If a loop has been defined in the Sample, it is also indicated on the waveform. You can then
adjust the loop by dragging its borders, and move the entire loop by dragging its title bar.
Loops can be created and adjusted in the LOOP section of the Zone settings, under the wave-
form display (see section ↑17.5.6, Adjusting the Zone Settings). Note that the loop will always
stay within the play range. Therefore, when moving the Sample’s start and end points closer to
each other (see above), keep in mind that it might also shrink the loop!

17.5.6 Adjusting the Zone Settings

At the bottom of the Zone page, the Zone settings allow you to adjust how each Zone should be
played back.
The Zone settings in the software.
The various sections always display the values for the focused Zone.
If the MASCHINE window is not wide enough to display all Zone settings at once, a horizontal bar
appears underneath to scroll to the desired section of parameters.

(1) PLAY RANGE section
The parameters in the PLAY RANGE section allow you to adjust the portion of Sample that will
be played back when the Zone is triggered.
START Adjusts the playback’s start point in the Sample of the focused
Zone.
END Adjusts the playback’s end point in the Sample of the focused
Zone.
(2) LOOP section

The parameters in the LOOP section allow you to define and adjust a portion that will play in
loop while the note is held.

ACTIVE Enable this to define a loop in the Sample of the focused Zone.
When the play position reaches the loop, the playback is looped
as long as the note is held. This can be useful to loop either a
whole Sample or part of it, e.g., to simulate a longer tone. Note:
this technique requires that you set the Sampler’s Type selector
to AHD or ADSR on the Pitch / Envelope page (see ↑7.2.2, Page
2: Pitch / Envelope).
START Adjusts the loop’s start point.
END Adjusts the loop’s end point.
XFADE (Crossfade) Allows you to blend a little of the material near the loop start
and end points in order to get a smoother, less abrupt loop. This
is particularly helpful if the loop is inducing any clicks.
Alternatively you can also adjust the loop’ start and end points by dragging the borders of the
loop in the Sample view, and move the entire loop by dragging its title bar.
By moving the loop’s start and end points closer to each other you can shrink the loop to very small
values on-the-fly, thereby creating very interesting glitch effects in a live situation.
The loop will always stay within the play range of the Sample. Therefore, when moving the Sample’s
playback start and end points closer to each other, keep in mind that it might also shrink the loop!
(3) TUNE / MIX section

The TUNE / MIX section contains parameters controlling pitch- and level-related aspects of the
Sample playback.
TUNE Sets the tuning of the focused Zone.
GAIN Sets the gain of the focused Zone.

PAN Sets the panorama position of the focused Zone.
ROOT KEY Adjusts the root key of the focused Zone, that is the key at
which the Sample will be played back at its original pitch. The
root key is also indicated by the colored key on the virtual
keyboard; to change it, you can drag it to another note on the
keyboard.
(4) ENVELOPE section

This amplitude envelope can be used to get rid of clicks after slicing; you can either apply it to
the Zone of the whole Sample or to individual Zones for selected Slices.
ATTACK Adjusts how quickly the Sample/Slice reaches full volume after being
triggered.
DECAY Adjusts how fast the Sample/Slice dies down.
(5) MAP section

The MAP section contains the parameters defining the key and velocity ranges of the Zone.
KEY LO (Lowest Key) Sets the lowest note (key) of the focused Zone. Alternatively,
you can drag the left border of the Zone in the Map.
KEY HI (Highest Key) Set the highest note (key) of the focused Zone. Alternatively,
you can drag the right border of the Zone in the Map.
VEL LO (Lowest Velocity) Defines the lowest velocity of the focused Zone. Alternatively,
you can drag the lower border of the Zone in the Map.
VEL HI (Highest Velocity) Defines the highest velocity of the focused Zone. Alternatively,
you can drag the higher border of the Zone in the Map.

Editing Your Zones on Your Controller

At the bottom of the left display, the Zone settings allow you to adjust how each Zone should
be played back.
The Zone settings on the controller.
The various parameters always display the values for the focused Zone.
The parameters available in the Zone settings are spread over five pages.
► Use the Page buttons on the left of the displays to select the desired page.
Page 1 – PLAY RANGE Parameters

The parameters in the PLAY RANGE page allow you to adjust the portion of Sample that will
be played back when the Zone is triggered.
The ZONE page on the controller – page 1 of 5: PLAY RANGE parameters.

START (Knob 1) Adjusts the playback’s start point in the Sample of the focused Zone.
END (Knob 2) Adjusts the playback’s end point in the Sample of the focused Zone.
► Hold SHIFT when turning the Knobs to adjust the parameters in finer increments.
In the waveform on the right display, the regions outside the play range are grayed out.
Page 2 – LOOP Parameters

The parameters in the LOOP page allow you to define and adjust a portion that will play in loop
while the note is held.
The ZONE page on the controller, page 2 of 5: LOOP parameters.
ACTIVE (Knob 1) Enable this to define a loop in the Sample of the focused Zone.
When the play position reaches the loop, the playback is looped as
long as the note is held. This can be useful to loop either a whole
Sample or part of it, e.g., to simulate a longer tone. Note: this
technique requires that you set the Sampler’s TYPE selector to AHD
or ADSR in the PITCH / GATE section (Parameter page 2, see
↑7.2.2, Page 2: Pitch / Envelope).
START (Knob 2) Adjusts the start point of the loop.

END (Knob 3) Adjusts the end point of the loop.
XFADE (Knob 4) Allows you to blend a little of the material near the loop start and
end points in order to get a smoother, less abrupt loop. This is
particularly helpful if the loop is inducing any clicks.
By moving the loop’s start and end points closer to each other you can shrink the loop to very small
values on-the-fly, thereby creating very interesting glitch effects in a live situation.
Page 3 – TUNE / MIX Parameters

The TUNE / MIX page contains parameters controlling pitch- and level-related aspects of the
Sample playback.
The ZONE page on the controller, page 3 of 5: TUNE / MIX parameters.
TUNE (Knob 1) Sets the tuning of the focused Zone.
GAIN (Knob 2) Sets the gain of the focused Zone.

PAN (Knob 3) Sets the panorama position of the focused Zone.
ROOT KEY (Knob 4) Adjusts the root key of the focused Zone, that is the key at which the
Sample will be played back at its original pitch.
Page 4 – ENVELOPE Parameters

This amplitude envelope can be used to get rid of clicks after slicing; you can either apply it to
the Zone of the whole Sample or to individual Zones for selected Slices.
The ZONE page on the controller, page 4 of 5: ENVELOPE parameters.
ATTACK (Knob 1) Adjusts how quickly the Sample/Slice reaches full volume after being
triggered.
DECAY (Knob 2) Adjusts how fast the Sample/Slice dies down.
Page 5 – MAP Parameters

The MAP page contains the parameters defining the key and velocity ranges of the Zone.

The ZONE page on the controller, page 5 of 5: MAP parameters.
KEY LO (Lowest Key, Knob 1) Sets the lowest note (key) of the focused Zone.
KEY HI (Highest Key, Knob 2) Sets the highest note (key) of the focused Zone.
VEL LO (Lowest Velocity, Knob 3) Defines the lowest velocity of the focused Zone.
VEL HI (Highest Velocity, Knob 4) Defines the highest velocity of the focused Zone.
17.5.7 Adding Samples to the Sample Map

You can add Samples directly to the Map view of the Zone page.
To see the Map view, make sure that the Sample View button is disabled next to the Zone tab at the
top of the Sample Editor. If this is not the case, click it to disable it.
► To add a new Sample, select one from the Browser or from your operating system and
drag it onto the Sample Map of the Map view (the biggest part in the middle of the Zone
page). Once your mouse is hovering the Sample Map, and before you release the mouse
button:
▪ Drag your mouse horizontally to choose the root key of the new Zone.

▪ Drag your mouse vertically to adjust the key range: With your mouse in the lower half of the
Sample Map the Zone will cover the root key only; dragging your mouse up in the upper
half of the Sample Map will extend the Zone’s key range up to one octave above the root
key; with your mouse at the top of the Sample Map, the Zone will cover the entire key-
board.
▪ As you release the mouse button, the Zone is created.
You can add other Samples to the Sound via this method.
The key range of several Zones can overlap, as can the velocity range.
Adding Multiple Samples at Once

You can also drag several Samples to the Sample Map at once:
1. Hold [Ctrl] ([Cmd] on macOS) or [Shift] on your computer keyboard and click the desired
Samples in the Browser or in your operating system.
2. Drag the selected Samples to the Sample Map.
→ This will create multiple adjacent Zones. The width (i.e. key range) of these Zones will
again depend on where they are dropped in the Sample Map: The higher you drop, the
wider each Zone will be. Dragging to the top part layers all Zones across the entire key-
board.
The placement of the Zones depends on the original Samples’ position in the selection list:
The first Sample selected will get the Zone with the lowest key range, the second Sample se-
lected will get the Zone just over the previous one, etc.
Adding a Sample to the Sample Map on the Controller

To add a new Sample to the Sample Map of the current Sound:
1. Press SAMPLING to enter Sampling mode and press Button 4 (ZONE) to open the ZONE
page.
2. Press Button 6 (ADD).
Your controller automatically switches to the Browser with the SAMPLE type preselected.
Button 1 and 2 are inactive so that you can only select and load Samples.

3. In the Browser, select the Sample you want to add to the map of the current Sound (see
↑4.2, Searching and Loading Files from the Library for more information on using the
Browser on your controller).
4. Press Button 8 (LOAD) to load the Sample.
→ A new Zone is created that contains the added Sample. Your controller automatically
switches back to Sampling mode and the new Zone is selected and appears on the right
display, ready to be tweaked.
While in the Browser you can press Button 6 (CANCEL) to return to Sampling mode without loading
any new Sample.

Appendix: Tips for Playing Live
Preparations
18 Appendix: Tips for Playing Live
MASCHINE is a very hands-on tool for producing music as well as for performing live. Here we
have specifically gathered some tips to help you when playing live. If you are used to playing
live, you may not need them, but maybe you will find some new ideas to integrate into your
set.
18.1 Preparations
18.1.1 Focus on the Hardware

In a live situation it is not very comfortable or intuitive to look back and forth from your laptop
screen running the MASCHINE software to the MASCHINE hardware controller.
18.1.2 Customize the Pads of the Hardware

Take your time to setup the pad sensitivity and velocity scaling to your personal taste (see sec-
tion ↑3.7.6, Preferences – Plug-ins Page to learn how to do that) — you will have even more
fun playing MASCHINE.
18.1.3 Check Your CPU Power Before Playing

Some things can be embarrassing, if for example, you are on stage and your computer starts to
have problems because it cannot handle the amount of effects you are using. Although the
MASCHINE software is programmed very efficiently, this might happen if your computer is
quite old. So before you get on stage, give your live set a thorough performance check by first
playing it at home. Have a look at the CPU meter in the MASCHINE software’s Header to en-
sure it never turns red. If necessary, increase the Latency value (see ↑3.7.1, Preferences –
General Page).

Preparations
18.1.4 Name and Color Your Groups, Patterns, Sounds and Scenes
18.1.5 Consider Using a Limiter on Your Master

This sounds rather conservative, but if you want to avoid digital distortion caused by an over-
load of your audio interface, this is a useful safety measure. However, you might experience a
somewhat squashed and dull sound if you overuse the Limiter by feeding a lot of loud signals
to it. Try it out and see what works best for you! See ↑15.1.4, Limiter for more information.
18.1.6 Hook Up Your Other Gear and Sync It with MIDI Clock
18.1.7 Improvise
It is nice if a live set is working out exactly the way you planned it, but sometimes, this can get
boring for you as well as for the audience. Something unexpected or even plain mistakes can
be the key for inspiring tracks and performances as well as just jamming around with your
Sounds and Samples!
18.2 Basic Techniques
18.2.1 Use Mute and Solo

Mute and Solo are a good way to build up a live set especially on the MASCHINE controller as
you can mute and solo Groups and Sounds at the same time.
Since soloing a Sound mutes all Sounds except one, the MUTE button can then be used to
“release” Sounds that have been muted. You can use this technique to create a breakdown:
Solo a given Sound such as a kick drum, then build the track up again by bringing the muted
Sounds back in one at a time with the MUTE button. See ↑18.2.4, Use Note Repeat for more
on this.

Basic Techniques
18.2.2 Use Scene Mode and Tweak the Loop Range

Scene mode is useful to trigger different parts of an arrangement by switching Scenes, while
changing the Loop Range adds another layer of improvisation. By using a short value for the
Perform Grid, you can quickly combine Scenes and create new variations.
18.2.3 Create Variations of Your Drum Patterns in the Step Sequencer

You can easily create interesting drum patterns by adding or removing steps in the step se-
quencer. Breaks and build-ups like snare rolls or a double-tempo hi-hat can be created on the
fly. See ↑11.3, Recording Patterns with the Step Sequencer for more information on the step
sequencer.
18.2.4 Use Note Repeat

Note Repeat is a very useful tool for playing live: use it to add some additional drums, drop in
some effect sounds, play a bassline or a melody. Note Repeat is also interesting to use with
tonal Sounds and you can access it from Keyboard mode to create synthesizer-like arpeggios.
See Note Repeat for more information.
18.2.5 Set Up Your Own Multi-effect Groups and Automate Them

You can setup multi-effect Groups containing all the effects you want to use in a live set. You
can find several multi-effect Groups in the LIBRARY pane of the Browser to give you an idea of
what works for you. To be able to quickly change and modulate the effect settings, you can set
modulation for the multi-effect as Patterns from within the MASCHINE software. By using Pat-
terns for the multi-effect Group you could for example trigger a filter sweep or a wild modulat-
ed Beat Delay. See section ↑14.4, Creating Multi-Effects for more details!

Special Tricks
18.3 Special Tricks
18.3.1 Changing Pattern Length for Variation

Try a short Pattern Grid resolution like a quarter or eighth note and change the Pattern Length
(see section ↑11.1.6, Adjusting the Arrange Grid and the Pattern Length) to create variations
of a Pattern. If you select an even smaller value like 1/64th you can create stuttering breaks
and rolls.
18.3.2 Using Loops to Cycle Through Samples

You can use loops to cycle through Samples, creating glitches and stuttering breaks or interest-
ing soundscapes. Just enter the ZONE page in Sampling mode on your controller, switch on
the ACTIVE parameter on the Loop page and play with the parameters for the start and end
point of the loop. Use the SHIFT button to change the values in smaller increments. See
↑7.2.1, Page 1: Voice Settings / Engine for more on this. Note: this technique requires that
you choose either AHD or ADSR as the Amplitude Envelope in the Sampler’s Parameter pages
(see ↑17.5.4, Selecting and Editing Zones in the Map View).
18.3.3 Using Loops to Cycle Through Samples

You can use loops to cycle through Samples, creating glitches and stuttering breaks or interest-
ing soundscapes. Just enter the ZONE page in Sampling mode on your controller, switch on
the ACTIVE parameter on the LOOP page and play with the parameters for the start and end
point of the loop. Use the SHIFT button to change the values in smaller increments. See
↑7.2.1, Page 1: Voice Settings / Engine for more on this. Note: this technique requires that
you choose either AHD or ADSR as the Amplitude Envelope in the Sampler’s Parameter pages
(see ↑17.5.4, Selecting and Editing Zones in the Map View).
18.3.4 Load Long Audio Files and Play with the Start Point
You can adjust the start point of a Sample in the Sampler’s Parameter pages (see ↑7.2.1, Page
1: Voice Settings / Engine). If you load a long audio file, you can create interesting variations
by tweaking (…or modulating) the start point.

Troubleshooting
Knowledge Base
19 Troubleshooting
If you are experiencing problems related to your Native Instruments product that the supplied
documentation does not cover, there are several ways of getting help.
Before getting help please make sure you have downloaded the latest MASCHINE software from Na-
tive Access.
19.1 Knowledge Base

The Online Knowledge Base gathers useful information about your Native Instruments product
and can be of great help to solve possible issues you may encounter. You can reach the Knowl-
edge Base via: www.native-instruments.com/knowledge.
19.2 Technical Support

If no Knowledge Base entry matches your problem, or if the matching entry does not solve the
problem, you can use the Online Support Form to contact the Technical Support team of Na-
tive Instruments. The Online Support Form will ask you to enter information about your hard-
ware and software setup. This information is essential for our Support team to be able to pro-
vide you with quality assistance. You can reach the Online Support via: www.native-instru-
ments.com/suppform.
When communicating with the Native Instruments Support team, keep in mind that the more
details you can provide about your hardware, your operating system, the version of the software
you are running, and the problem you are experiencing, the better they will be able to help you.
In your description, you should mention:
▪ How to reproduce the problem
▪ What you have already tried to fix the problem
▪ A description of your setup, including all hardware and the version of your software

Troubleshooting
Registration Support
▪ The brand and specifications of your computer
When installing new software or software updates, a Readme file is included that contains late
breaking news and new information that was not yet included in the documentation. Please open
and read this Readme file before contacting Technical Support.
19.3 Registration Support

If problems occur during the product activation procedure, please contact our Registration
Support team: www.native-instruments.com/regsuppfrm.
19.4 User Forum

In the Native Instruments User Forum, you can discuss product features directly with other
users and with experts moderating the forum. Please be aware that the Technical Support
team does not participate in the forum. If you’re encountering an issue that can’t be solved by
other users, contact Native Instruments’ Technical Support team via the online support as de-
scribed above. You can reach the User Forum via: http://www.native-instruments.com/forum.

Glossary
20 Glossary
In this glossary you will find short definitions for numerous terms used in the MASCHINE con-
text. If you have any doubts about the meaning of a word, this is the place to check!
Arranger
the Header. It contains two views: Ideas view and Song View.
Song View
The Song view allows you to combine Sections (references to Scenes), and arrange them into a
song on the Timeline.
Autoload
When Autoload is enabled, any Group, Sound, Pattern, Plug-in preset (instrument or effect), or
Sample that you select in the Browser is instantly loaded into the selected Group slot, Sound
slot, Pattern slot or Plug-in slot. This way, you can listen to this object in the current context of
your song.
Browser
The Browser is the front end for accessing all MASCHINE objects: Projects, Groups, Sounds,
Patterns, presets for instrument and effect Plug-ins, and Samples. Each of these can be stor-
ed, “tagged,” and categorized in a way that allows you easy access to all of them. MA-
SCHINE’s factory library is already completely tagged, and you can also import your own files
to the Library and tag them as well.
Bussing Point
A bussing point is a point in the signal flow that can accept signals coming from various loca-
tions in the audio routing system. In MASCHINE for example, the first Plug-in slot of a Sound
usually contains a sound source (which you will hear by pressing the corresponding pad on
your controller). If you load an effect plug-in in this first Plug-in slot, though, the Sound won’t
generate audio itself but instead it becomes available for other Sounds and Groups to process

Glossary
their audio. You then only have to set up the desired Sound(s) and Group(s) of your Project to
send some of their audio to this bussing point. This basically is the way to set up send effects
in MASCHINE!
Channel Properties
Channel properties are sets of parameters available at each Project level (i.e. for each Sound,
each Group, and for the Master) that are independent of the Plug-ins loaded in that Sound/
Group/Master. Like the Plug-in parameters, in the software the Channel properties are dis-
played in the Control area. For example, the volume, pan or swing controls are properties of
their respective Sound/Group/Master channel.
Control Area
The Control area is located in the middle of the MASCHINE window, between the Arranger
(above) and the Pattern Editor (below). This area allows you to adjust all Plug-in parameters
and Channel properties for the selected Sound/Group or the Master level: routing, effects, Mac-
ro Controls, etc.
Control Lane
Located at the bottom of the Pattern Editor in the MASCHINE window, the Control Lane shows
and lets you edit the recorded automation in form of automation points for each automated pa-
rameter. You can add, remove, or manipulate existing automation points as well as add new
parameters to automate.
Control Mode
Control mode is the default mode of your controller. In this mode, you can play or record your
actions in real-time. Control mode also allows you to easily adjust any parameter of your
Groups and Sounds via the Control section of your controller.
Effect (FX)
An effect modifies the audio material it receives. MASCHINE already includes many different
effects. You may also use VST/AU plug-in effects. Effects can be loaded as Plug-ins in any
Plug-in slot of the Sound, Group, and Master levels. MASCHINE’s flexible routing allows you
not only to apply insert effects but also to create send effects and multi-effects.

Glossary
Event
Events are the individual drum hits or notes that make up a Pattern. In the Pattern Editor,
events are visually represented by rectangles in the Step Grid. Depending on the current view
in the Pattern Editor, you can see events for all Sounds slots (Group view) or for the select
Sound slots only (Keyboard view).
Groove Properties
The Groove properties control the rhythmic relationship between events for the selected Group/
Sound or the Master level. By shifting some of the events, you can e.g. give a shuffling, ternary
touch to your Patterns. The main parameter of the Groove properties is the Swing control.
Group
A Group contains 16 Sound slots, each of which can hold one Sound. In addition to the effects
applied to individual Sounds, a Group can have insert effects loaded in its Plug-in slots. These
affect all the Sounds in the Group. A Group can also contain an unlimited amount of Patterns
organized into Pattern Banks.
Group View
Group view is the view of the Pattern Editor in which events for all 16 Sound slots of the se-
lected Group are visible and editable. In Group view, each row of the Step Grid represents a
different Sound slot. This mode is well suited for rhythmic instruments (e.g., a drum kit).
Ideas View
line or arrangement. You can create Patterns for each Group and combine them into a Scene.
These Scenes can then be added to Sections in the Song view to create a larger musical struc-
ture.
Insert Effect
An insert effect is an effect directly inserted in the signal path of the audio to be processed.

Glossary
Header
The Header is the topmost row of controls in the MASCHINE software window. It contains
global settings, such as the Master Volume slider, the Transport controls, controls for global
swing, tempo, time signature, etc.
Keyboard View
Keyboard view is the view of the Pattern Editor in which only events of the selected Sound are
visible and editable. The Keyboard view provides a vertical on-screen keyboard that indicates
the pitch of each event (one row per semi-tone). This mode is well suited for melodic instru-
ments (e.g., synthesizer). The Keyboard view of the Pattern Editor and the Keyboard mode on
your controller are bound together: If you enable Keyboard view in the Pattern Editor, your con-
troller automatically switches to Keyboard mode, and inversely.
Macro Control
Each Sound/Group/Master channel provides a page of eight Macro Controls to which you can
assign almost any parameter from that level or the underlying one. This way you can define for,
e.g., each Group or Sound a set of eight parameters that are quickly accessible. Furthermore,
Macro Controls can be assigned to MIDI CCs to be controlled by an external MIDI controller or
application. Last but not least, if you use MASCHINE as a plug-in in a host, Macro Controls are
available for modulation in your host too.
Master
The Master is where all audio signals from each of the Groups and Sounds come together and
get mixed. The Master bus can also have insert effects loaded in its Plug-in slots. These ef-
fects are applied to all Groups and the Sounds within them.
Modulation
Modulation allows you to record changes of parameter values so that you don’t need to actuate
these parameters in real-time. Any modulated parameter is displayed both in the Control Lane
(at the bottom of the Pattern Editor) and as a movement of the chosen parameter itself in the
Control area.

Glossary
Mute and Solo

Muting allows you to bypass a Sound or a Group, whereas Soloing is pretty much the opposite:
It mutes all other Sounds or Groups so that only the soloed Sound or Group is played. The
combination of muting and soloing is a useful means both to play live and to test different se-
quences together.
Pad Mode
Your controller offers various Pad modes that allow you to play your Sounds from the pads in
different ways: Depending on the selected Pad mode, you can either assign one Sound to all
16 pads (Keyboard mode and 16 Velocities mode) or trigger each Sound with a distinct pad
(default mode and Fixed Velocity mode). The Keyboard mode on your controller and the Key-
board view in the software’s Pattern Editor are bound together: If you enter Keyboard mode on
the controller, Keyboard view gets automatically enabled in the software, and inversely.
Parameter Pages
The Parameter pages constitute the biggest part of the Control area in the MASCHINE window.
They contain the adjustable Plug-in parameters and Channel properties of the selected Sound/
Group or those of the Master.
Pattern
A Pattern is a sequence that plays Sounds from a Group. Patterns are the building blocks for
Scenes. One Pattern from each Group can be added to a Scene. You can reference the same
Pattern in different Scenes. When you modify a Pattern in the Pattern Editor, all references to
this Pattern are updated in the Arranger.
Pattern Editor
Located at the bottom of the MASCHINE window, the Pattern Editor allows you to select
Sound slots (on the left), display and edit your Patterns, change the Step Grid settings and
create/edit automation.

Glossary
Plug-in
A Plug-in is an instrument or effect unit, either Internal or External (by Native Instruments or a
third-party manufacturer), that can be loaded into a Plug-in slot to produce or alter sound.
When a Plug-in is loaded into a Plug-in slot, the Plug-in appears in the Plug-in List in the left
part of the Control area.
Prehear
The Prehear feature allows you to listen to Samples directly from the Browser without loading
them into Sound slots first. This way, you can quietly choose a Sample before modifying any-
thing in your Project.
Project
A Project contains all data needed for a song: all Groups, Patterns, Sounds, Samples, Scenes
and all settings, automation, effects, routings, etc. It’s like a snapshot of the entire state of
MASCHINE.
Quantization
To quantize a Pattern is to make its events snap to a set of equally distributed locations known
as steps. This ensures that these events are on beat. You can also let MASCHINE automatically
quantize events that you play and/or record live. Quantization makes it easier to get a rhythm
going, but too much use can make the Pattern seem stiff or lifeless.
Sample
A Sample is any piece of audio that can be used e.g. to build a drum kit or a melodic instru-
ment, or as a distinct loop in your song. You can load one or more Samples into each Sound
slot.
Sample Editor
The Sample Editor can be displayed in place of the Pattern Editor. The Sample Editor is the
all-in-one editor for Samples. It notably allows you to record Samples, edit them, split them
into slices and map them across notes and velocities on your keyboard.

Glossary
Scene
A Scene is a combination of Patterns for each Group. They can be used to combine Patterns in
order to create musical ideas. Scenes are created in the Ideas view and then added to Sections
in the Song view to create an arrangement.
Section
Sections are references to a specific Scenes on the Timeline of the Song view and are used to
arrange the Scenes into a larger musical structure. The benefit of using Sections is that any
changes made to a Scene are replicated in each Section where the Scene is referenced there-
fore making the process of changing parts of a song quick and easy.
Send Effect
A send effect is an effect available for audio signals located on other Sounds and/or Groups.
These audio signals can be routed to a variable extent to the send effect for the effect to proc-
ess them. Send effects notably allow you to reuse the same effect on different Sounds and/or
Groups, thereby limiting the overall CPU load.
Sequencer
Generally speaking, a sequencer is a hardware unit or software tool that arranges musical se-
quences, e.g. drum patterns or chord progressions. Hardware sequencers typically function as
a set of steps, where every step can be filled with musical content. The steps are then played
back as a musical sequence. MASCHINE has its own sequencing abilities: you can record and
play single Patterns as well as arrange Patterns into Scenes and Scenes into full songs.
Solo
See Mute and Solo.
Sound
Sounds are the building blocks of all sound content in MASCHINE. They are organized into
Groups that can hold up to 16 Sounds each. Sounds can be played directly from the pads on
your controller. A Sound can be loaded with Plug-ins of various types (sound source or effect,
Internal or External, etc.).

Glossary
Step
Steps are elementary time blocks. They are notably used to apply quantization or to compose
Patterns from your controller in Step mode. All steps together make up the Step Grid. In the
software’s Pattern Editor, steps are visualized by vertical lines. You can adjust the step size,
e.g., to apply different quantization to different events or to divide the Step Grid into finer
blocks to edit your Pattern more precisely.
Step Grid
The Step Grid is a set of parallel lines that divide the Pattern into steps. By changing the reso-
lution of the Step Grid (i.e. the step size), you can adjust the note values at which you can
quantize your Pattern and the number of steps available in Step mode on your controller.
Step Mode
In Step mode, your controller can be used as a traditional step sequencer, where each of the
16 pads represent a step in the Step Grid. Just as on classical drum machines, a light repre-
senting the sequence runs from pad 1 up to pad 16, highlighting each step during playback.
Select a Sound and put events at chosen steps in the sequence by pressing the corresponding
pads. By repeating the process Sound by Sound you build up the whole Pattern.
Swing
The Swing parameter allows you to shift some of the events in your Pattern to create a shuf-
fling effect.

Index
Index
Numerics A
16 Velocities Ableton Link
in Pad mode [282] connecting to a network [159]
4-D encoder [52] joining a Link Session [159]
adjusting the volume, swing, tempo and Amplitude Envelope (Sampler) [361]
tune [86]
ARRANGE button [487] [834]
Arrange Grid [497]
Arranger
definition [75] [947]
switching views [69] [805]
ARRANGER button [51]
Arranger View button [69] [805]
ASIO driver [128]
Assigning Macro Controls
from parameters [642]
MIDI CC Messages [643]
Pages Pane [643]
using the controller [648] [649]
Assigning Patterns [817]
Attribute Editor [207]
AU plug-ins [371]
Audio
rendering from Patterns [580]

Index
Audio driver (selecting) [127] Autoload [195]

Audio Engine button [66] definition [947]
Audio input [595] [699]
B
Audio interface [942]
Base key [284]
input and output routing [126]
Beat Delay [766]
selecting inputs and outputs [126]
Bit depth
settings [126]
exporting audio [273]
Audio Plug-in [384]
reducing (effect) [778]
editor [389]
BP2 (Filter mode) [364]
Fade [385]
Browser [64]
Formant [387]
+ PATTERNS button [199]
Gate mode [384] [392]
+PATTERNS button [68]
Length [387]
+ROUTING button [68]
loading [384]
button [65]
Loop mode [384] [390]
Mode [385]
File Type selector [180]
Parameters [385]
in-depth [163]
Pitchbend [386]
load with Patterns [199]
Re-pitch [386]
showing and hiding [80]
Stretch [387]
BROWSER button [51]
Tempo [387]
Bussing point [947]
Tune [386]
Bypassing
Audio Type
Plug-in slots [348]
AUTO button [51] [553]

Index
C Song view [855]
Channel Color
Groove properties [297] Group [255]
Input properties (Audio page) [595] [699] Pattern [574]
Macro properties [640] Scene [831]
Output properties (Audio page) [600] Sound [241]
Output properties (Aux page) [605] Color a Pattern
CHANNEL button [50] Song view [855]
Channel icon [72] Compressor [717]
Channel properties [593] Content selector [68]
definition [948] Control area [65]
Groove [297] definition [948]
Input [595] [699] Control Lane [554]
Macro [640] definition [948]
Output [600] [605] [609] Control mode
Channel Property selector [72] definition [948]
Choke All Notes [296] Control section [49]
Choke groups [286] Controller
CHORDS button [61] Control section [49]
Chorus [742] Edit section [52]
Classic saturation [780] Group buttons [55]
Clear Group section [55]
Scene (software) [824] [847] overview [47]
Section (software) [853] Pad section [57]
Clear a Pattern Performance section [53]

Index
rear panel [62] D

selecting Pad mode [281] Delay effects [766]
Transport section [55] Delete
Controller mode [37] events/notes (controller) [537]
Controller modes events/notes (software) [536]
temporary vs. pinned [83] Group [263]
Controller settings [150] Digital distortion [778]
Controlling external MIDI devices using Macro Display area [66]
Controls [643]
Display brightness [150]
Copy/paste
Distortion [775]
Group [259]
Analog [777]
Pattern (controller) [577]
avoiding [942]
Pattern content (software) [576]
Mullholland [776]
Sound [245]
Driver
Count-in [510] [512]
selecting an audio driver [127]
length [124] [125]
Drum program files
CPU meter [66]
importing [275]
CPU power [941]
Duplicate
Create a Pattern
Group [259]
Song view [854]
Pattern (software) [575]
Cue
Sound [245]
adjusting the output [609]
Duplicate a Pattern
Cut/copy/paste
Song view [856]
events/notes (controller) [541]
DUPLICATE button [59]
events/notes (software) [539]
Duplicating

Index
Making Sections Unique [849] E

Dynamics effects [717] Edit
events/notes (controller) [533]
EDIT page (controller) [884]
Edit page (software) [880]
Edit section [52]
Effect categories
delays [766]
distortions [775]
dynamics [717]
filtering [734]
modulation [742]
spatial and reverbs [751]
Effects [685] [716]
applying [685]
applying to external audio [699]
Beat Delay [766]
Chorus [742]
Compressor [717]
creating a send effect [705]
Distortion:Analog [777]
Distortion:Mullholland [776]
EQ [734]
Filter [737]

Index
Flanger [744] EQ (Filter mode) [364]

FM [746] Equalizer [734]
Freq Shifter [747] ERASE button [56]
Gate [721] Event
Grain Delay [769] definition [949]
Grain Stretch [771] Event Edit mode (controller) [533]
Ice [751] Event Select mode (controller) [523]
insert effect [949] Events
Limiter [727] cut/copy/paste (controller) [541]
loading [685] cut/copy/paste (software) [539]
Lofi [778] definition [76]
manipulating [694] deleting (controller) [537]
Maximizer [731] deleting (software) [536]
Metaverb [753] editing (controller) [533]
multi-effect [713] editing with the mouse [518]
Phaser [749] moving (controller) [516] [535] [536]
Plate Reverb [764] moving (software) [530]
Reflex [754] nudging (controller) [516] [535] [536]
Resochord [773] nudging (software) [532]
Reverb [756] paste (controller) [541]
Saturator [779] paste (software) [539]
send effect [705] quantizing [542]
send effect definition [953] resizing (controller) [516] [535]
Transient Master [725] resizing (software) [530]
EQ [734] selecting (controller) [523] [529]

Index
transposing (controller) [536] F

transposing (software) [531] Favorites [201]
EVENTS button [59] Add [201]
Events vs. notes [518] Remove [201]
Export Show [201]
MIDI from Pattern [581] FILE button [51] [161]
Exporting audio File Management
from Patterns [580] using the controller [161]
Extended Lock [54] File type
External audio [595] [699] selecting in Browser [180]
External Plug-ins [371] File Type selector [68] [166]
FILES pane [213]
FILES tab [67]
Filter [737]
Filter (Sampler) [364]
Filtering effects [734]
FIXED VEL button [61]
Fixed Velocity [282]
Flanger [744]
FM [746]
FOLLOW button [56] [515]
Footswitch [160]
recording audio [875]
Frequency Shifter [747]

Index
G naming [255]
Gate [721] Output properties (Audio page) [600]
Gate mode [392] Output properties (Aux page) [605]
Grain Delay [769] pasting [259]
Grain Stretch [771] saving [257]
Groove [297] saving with Samples [265]
Groove properties [297] set up as send effect [706]
definition [949] soloing [292]
Group triggering Sounds via MIDI notes [619]
applying effects to [685]

Group buttons [55]
color [255] Group index [293]
copying and pasting [259] Group List [229]
creating [252] Group mode (controller) [281]
definition [76] [949] quick erasing events [537]
deleting [263] selecting events [523] [529]
duplicating [259] Group section [55]
Groove properties [297] GROUP tab [72]
Group List [229] Group view [73]
Input properties (MIDI page) [619] definition [949]
introduction [229] Groups [71] [807]
load with Patterns [199]

Macro properties [640]
moving [262]
multi-effect [713] [943]
muting and soloing [292]

Index
H I
Header [64] Ice [751]
Audio Engine button [66] Ideas view
Browser button [65] definition [76] [949]
CPU meter [66] Groups [70] [806]
definition [950] Pattern area [70] [806]
Display area [66] Scenes [70] [806]
MASCHINE menu [65] Import
Master Volume slider [66] MIDI to Pattern [584]
NI logo [66] IMPORT button [222]
Transport controls [66] Importing your files into the Library [221]
Help [945] Input properties
Host automation [627] Audio page [595] [699]
Host Integration [114] Input Quantization [512]
Integration with Ableton Live [117] Insert effect [949]
Integration with Apple Logic Pro X [119]
Setting up Ableton Live (masOS) [115]
Setting up Ableton Live (Windows) [116]
Host Integration:Setting up Apple Logic X [116]
HP2 (Filter mode) [364]
Humanizing
Pattern Variation [546]

Index
K L
Key [284] Latency [128] [941]
KEYBOARD button [60] [283] LFO [737] [744] [749]
Keyboard mode Library [163]
activating [283] importing your own files [221]
Scale [283] LIBRARY pane [165]
using [283] LIBRARY tab [67]
Keyboard mode (controller) [283] Limiter [727]
quick erasing events [537] using [942]
selecting notes [526] [530] LINE IN 1 and 2 sockets [63]
Keyboard view [73] LINE OUT L and R sockets [62]
definition [950] LINE OUT VOLUME knob [62]
Link groups [288]
Load
Group with Patterns [199]
Plug-in [339]
Loading files
using the controller [161]
LOCK button [54]
Lock feature
using [326]
Lock snapshot
basics [326]
changing via MIDI [330]
creating [326]

Index
deleting [329] M
morphing between snapshots [328] MACRO button [52]
recalling in Lock view [328] Macro Control
triggering via MIDI [330] definition [950]
updating in Lock view [327] Macro Controls [52] [640]
Lock view Assigning using the controller [648]
entering [327] Unassigning using the controller [649]
recalling snapshot in Lock view [328] Macro Controls (controller) [642]
updating snapshot [327] Making Sections Unique [849]
Locking a mode (controller) [83] MASCHINE Library [163]
Locking controller modes [37] MASCHINE menu [65]
Lofi [778] MASCHINE software
Loop mode [390] stand-alone or plug-in [111]
Loop Optimize Master
exporting audio [272] applying effects to [685]
LP2 (Filter mode) [364] definition [76] [950]
Groove properties [297]
introduction [229]
Macro properties [640]
Output properties [609]
MASTER tab [72]
Master Volume slider [66]
Maximizer [731]
Metaverb [753]
Metro button [510]

Index
Metronome [509] MOD button [54] [332]

signature [123] [125] Mode buttons [58]
volume [123] Mode locking [37]
MIC IN GAIN knob [62] Mode pinning [37]
MIC IN socket [63] MODES Filter [167]
MIDI [25] Modulation [550]
automation [627] applying using the Smart Strip [332]
connecting external equipment [156] definition [950]
controlling parameters via [627] drawing with mouse [556]
disabling MIDI Lock Change [330] modulatable parameters [551]
disabling MIDI Scene Change [626] recording in Control mode (controller) [553]
enabling MIDI Lock Change [330] recording in Step mode (controller) [517]
enabling MIDI Scene Change [626] Modulation effects [742]
exporting from Pattern [581] Modulation Envelope (Sampler) [365]
importing to Pattern [584] Modulation mode
keyboard [284] of the Smart Strip [332]
sending MIDI from Sounds [636] Morphing
synchronizing [132] [157] [158] between Lock snapshots [328]
triggering Sounds via MIDI notes [619] parameters [329]
using to change Lock snapshots [330] Move
using to trigger Lock snapshots [330] events/notes (software) [530]
MIDI Clock [132] [157] [158] Group [262]
MIDI IN and OUT sockets [63] Pattern [578]
Missing Samples [223] Plug-in [350]
MIXER button [51] [651] [681] Scene (software) [826]

Index
Section (controller) [844] N

Sections (software) [843] Name
Sound [248] Group [255]
Move events/notes (controller) [516] [535] [536] Pattern [572]
Multi-effect [713] [943] Scene [830]
Mute [942] Sound slot [241]
definition [951] Native Instruments Plug-ins [371]
Plug-in slot [348] Native Kontrol Standard [110]
Sound or Group [292] Navigate [105]
MUTE (controller) [295] Pattern Editor [105]
MUTE button [58] Song view [105]
NI logo [66]
NKS [110]
Normalize
Note Repeat [321] [943]
NOTE REPEAT button [53]
Notes
controlling using the Smart Strip [333]
cut/copy/paste (controller) [541]
cut/copy/paste (software) [539]
deleting (controller) [537]
deleting (software) [536]
editing (controller) [533]
editing with the mouse [518]

Index
moving (controller) [516] [535] [536] O

moving (software) [530] Octaves
nudging (controller) [516] [535] [536] transposing events/notes by [536]
nudging (software) [532] Output properties
paste (controller) [541] Audio page [600] [609]
paste (software) [539] Aux page [605]
quantizing [542] Overdub mode (controller) [505]
resizing (controller) [516] [535] Overview
resizing (software) [530] hardware controller [47]
selecting (controller) [523] [526] [529] [530] structure of a Project [42]
transposing (controller) [536]
transposing (software) [531]
NOTES button [54] [333]
Notes mode
of the Smart Strip [333]
Nudge events/notes (controller) [516] [535] [536]
Nudge events/notes (software) [532]

Index
P controlling parameters via host automation

[627]
Pad Input Mode buttons [60]
controlling parameters via MIDI [627]
Pad input modes [60]
Pattern [483]
PAD MODE button [60]
adding variation [545]
Pad mode options
adjusting length (controller) [499]
16 Velocities [282]
adjusting length (software) [498]
Fixed Velocity [282]
color [574]
Pad modes
copying and pasting (controller) [577]
definition [951]
creating (controller) [568]
Pad modes (controller) [281]
creating (software) [567]
Pad section [57]
cut/copy/paste content (software) [576]
Pad sensitivity [150]
cut/copy/paste events/notes (controller)
Pads [60] [541]
Choke groups [286] cut/copy/paste events/notes (software) [539]
Link groups [288] definition [76] [951]
recording [505] deleting (controller) [569]
Page buttons [51] deleting (software) [569]
Parameter deleting events/notes (controller) [537]
creating snapshots using Lock [326] deleting events/notes (software) [536]
Scale TYPE [283] doubling (controller) [545]
Parameter area [72] duplicating (software) [575]
Parameter page editing (software) [484]
definition [951] editing events/notes (controller) [533]
navigating [98] exporting MIDI from [581]
Parameter pages importing MIDI to [584]

Index
inserting (controller) [568] selecting events/notes (controller) [523]

[529]
load with Group [199]
step sequencer (controller) [512]
moving [578]
transposing events/notes (controller) [536]
moving events/notes (controller) [535] [536]
transposing events/notes (software) [531]
moving events/notes (software) [530]
Pattern Arrange mode (controller) [487]
moving events/notes in Step mode (control-
ler) [516] Pattern bank
nudging events/notes (controller) [516] [535] creating (software) [570]
[536]
deleting (software) [571]
nudging events/notes (software) [532]
selecting (controller) [565] [566]
paste content (software) [576]
PATTERN button [59]
paste events/notes (controller) [541]
Pattern Editor [65] [484]
paste events/notes (software) [539]
definition [951]
pasting (controller) [577]
Pattern Length [498]
quantizing events/notes [542]
Pattern Manager [562]
recording in Control mode (controller) [505]
Pattern mode [563]
recording in Step mode (controller) [512]
Pattern Variation
removing [817]
accessing mode [546]
renaming [572]
applying settings to selected Sound [546]
rendering audio from [580] [547]
resizing events/notes (controller) [535] Humanize mode [545] [546]
resizing events/notes (software) [530] Random mode [546]
resizing events/notes in Step mode (con- Random mode parameters [548]
troller) [516]
setting Humanize mode amount of time
selecting (controller) [566] shift [547]
selecting (software) [564] setting Humanize mode velocity range [547]

Index
setting Random mode amount of time shift Pitch Bend

[548]
applying using the Smart Strip [332]
setting Random mode note distribution
PITCH button [54] [332]
across Pattern [549]
Pitch mode
setting Random mode note length [548]
of the Smart Strip [332]
setting Random mode note number per
chord [548] Pitch scale [283]
setting Random mode note range [548] Plate Reverb [764]
setting Random mode velocity range [548] PLAY button [56]
Pedal [160] Playing tools
PEDAL socket [63] Smart Strip [331]
PERFORM button [54] [332] Plug-in [111]
Perform FX adjusting parameters [348]
controlling using the Smart Strip [332] bypassing [348]
selecting and loading [54] definition [77] [952]
Perform Grid [811] loading [339]
Perform mode moving [350]
of the Smart Strip [332] muting [348]
Performance section [53] saving presets [352]
Performing live Switching instances [113]
using the Smart Strip [331] PLUG-IN button [50]
Phaser [749] Plug-in icon [72]
PHONES socket [62] Plug-in slot
PHONES VOLUME knob [62] bypassing [348]
Pinning a mode (controller) [83] muting [348]
Pinning controller modes [37] Plug-ins

Index
External [371] overview and structure [42]

Native Instruments [371] saving with Samples [266]
Power Supply socket [63]
Q
Power switch [63]
Quantization
Preferences [121]
definition [952]
:Routings [126]
quantizing after recording [542]
Audio page [126]
quantizing while recording (controller) [512]
Colors page [154]
Quick Browse [225]
Default page [133]
Quick Edit buttons [53]
General page [121]
Quick Reference [37]
Hardware page [150]
Library page [137]
MIDI page [130]
Plug-ins page [145]
Prehear [197] [198]
definition [952]
Pre-listening Samples [197] [198]
Preset
External Plug-ins [380]
Native Instruments Plug-ins [380]
saving Plug-in presets [352]
using VST/AU presets [380]
Product selector [68]
Project

Index
R Resize
Randomizing events/notes (controller) [516] [535]
Pattern Variation [546] events/notes (software) [530]
Rear panel [62] Pattern (controller) [499]
REC button [56] Pattern (software) [498]
Record Resochord [773]
Count-in [510] RESTART button [56]
Input Quantization [512] Result list
Overdub mode [505] in FILES pane [215] [218]
Record Prepare mode (controller) [508] in LIBRARY pane [167] [190]
Replace mode [506] Retrigger Scenes [812]
RECORD page (controller) [868] Retrigger Sections [812]
Record page (software) [867] Reverb [756]
Record Prepare mode (controller) [508] Reverberation effects [751]
Redo [87] REX files
Reflex [754] importing to Sounds [274]
Remove a Pattern Root key
Song view [856] setting [933] [937]
Rename a Pattern Routing [685]
Song view [855]

Repeating notes
Note Repeat [321]
Replace mode (controller) [506]
Reset
Sound slot [249]

Index
S Save
Sample Group [257]
definition [952] Group with Samples [265]
exporting with Group [265] Plug-in preset [352]
exporting with Project [266] Project with Samples [266]
importing into Library [221] Sound [243]
missing [223] Save button [161]
pre-listening [197] [198] Saving files
Sample Editor [866] using the controller [161]
definition [952] Scale
Sample rate in Keyboard mode [283]
exporting audio [273] Scales
reducing (effect) [778] 5-Tone [313]
selecting [128] Jazz [311]
Sampler Plug-in [356] Main [309]
Amplitude Envelope [361] Major [315]
Sampling Minor [316]
editing (controller) [884] Modern [314]
editing (software) [880] Modes [310]
mapping (controller) [917] World [312]
mapping (software) [916] Scene
recording (software) [867] appending (controller) [829]
slicing (software) [894] appending (software) [829]
SAMPLING button [51] clearing (software) [824] [847]
Saturator [779] color [831]

Index
creating (controller) [817] Section [832]

creating (software) [817] adjusting the length (hardware) [847]
definition [77] [953] adjusting the length (software) [844] [845]
deleting (controller) [823] assigning (controller) [838]
deleting (software) [822] assigning (software) [838]
duplicating (controller) [825] [826] clearing (software) [853]
jumping to another [811] creating (controller) [838]
naming [830] creating (software) [837]
reordering (software) [826] definition [77] [953]
Retrigger [812] duplicating (controller) [848] [849]
selecting (controller) [822] duplicating (software) [848]
selecting (software) [821] jumping to another [811]
transitions [811] moving (controller) [844]
unique (controller) [828] removing (controller) [851]
unique (software) [828] removing (software) [850]
Scene bank selecting (controller) [841] [842]
creating (hardware) [824] selecting (software) [839]
creating (software) [824] Section Arrange mode (controller) [834]
deleting (controller) [824] Section bank
selecting (controller) [822] creating (hardware) [854]
selecting (software) [821] creating (software) [854]
SCENE button [59] [836] deleting (controller) [854]
Scene mode (controller) [816] selecting (controller) [841] [842]
Search field [68] [167] selecting (software) [839]
Search results [190] Section mode (controller) [836]

Index
Sections Notes mode [333]

moving (software) [843] Perform mode [332]
Select Pitch mode [332]
events/notes (controller) [523] [529] using [331]
Select a Pattern Snapshots [326]
Song view [854] Solo [942]
SELECT button [59] definition [951]
Selecting Sound or Group [292]
Pad mode (controller) [281] SOLO (controller) [295]
Semitones SOLO button [59]
transposing events/notes by [536] Song [832]
Send effect [705] Song view [832]
definition [953] Clear a Pattern [855]
Send MIDI Clock [132] [158] Color a Pattern [855]
Sequencer Create a Pattern [854]
definition [953] definition [77] [947]
SETTINGS button [51] [510] Duplicate a Pattern [856]
SHIFT button [57] Groups [71] [807]
Slice [894] Pattern area [71] [808]
exporting (controller) [914] Remove a Pattern [856]
exporting (software) [910] Rename a Pattern [855]
SLICE page (controller) [896] Sections [71] [807]
Slice page (software) [894] [895] Select a Pattern [854]
Smart Strip [54] Timeline [71] [807]
Modulation mode [332] Working with Patterns [854]

Index
Sound Sound List [229]

applying effects to [685] Sound slot
Color [241] naming [241]
copying and pasting [245] number [292]
definition [78] [953] resetting [249]
duplicating [245] SOUND tab [72]
Groove properties [297] Soundcard [942]
Input properties (Audio page) [595] [699] input and output routing [126]
Input properties (MIDI page) [619] selecting inputs and outputs [126]
introduction [229] settings [126]
Macro properties [640] Stand-alone application [111]
moving [248] Step
muting and soloing [292] definition [954]
naming [241] STEP button [61] [512]
Output properties (Audio page) [600] Step Grid [74] [501]
Output properties (Aux page) [605] definition [954]
Output properties (MIDI page) [636] Step mode
pasting [245] definition [954]
resetting slot [249] Step mode (controller) [512]
saving [243] Step sequencer (controller) [512]
sending MIDI [636] Step Undo/Redo [88] [89]
set up as send effect [706] STOP button [56]
soloing [292] Strip Mode buttons [54]
Sound List [229] Swing
triggering via MIDI notes [619] definition [954]

Index
quickly adjusting from the controller T

(Sound/Group/Project) [86]
Tag Filter [68]
SWING button [53] [86]
using [182]
Sync to External MIDI Clock [132] [157]
Tags
assigning Types and Sub-Types [211]
creating [212]
Take Undo/Redo [88]
TAP (Metro) button [510]
TAP button [56] [303]
Tape saturation [781]
Template Project
plug-in [135]
stand-alone [135]
Tempo
quickly adjusting from the controller [87]
Tap [303]
TEMPO button [53] [87]
Text search [68]
using in Browser [190]
Threshold [721] [727]
Touch Strip [54]
Transient Master [725]
Transport controls [66]
Transport section [55]
Transpose

Index
events/notes (controller) [536] V

events/notes (software) [531] Variation
Triggering Scenes via MIDI [626] accessing mode [546]
Troubleshooting [945] adding to Pattern [545]
Tube saturation [782] applying settings to selected Sound [546]
Tune [547]
quickly adjusting from the controller Humanize mode parameters [547]
(Sound/Group) [87] Random mode parameters [548]
TYPES Filter [167] VARIATION button [59]
U Velocity scaling [150]

View
Undo [87]
switching [78]
USB socket [63]
Volume [66]
quickly adjusting from the controller (Mas-
ter/Group/Sound) [86]
VOLUME button [53] [86]
VST plug-ins [371]
VST/AU
definition [952]
W
Song view [854]

Index
Z
Zone page
controller [917]
software [916]

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MASCHINE MK3 MANUAL

Document authored by: David Gover and Nico Sidi.

NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc.

NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited

NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited

© NATIVE INSTRUMENTS GmbH, 2018. All rights reserved.

2.4.1 Header ....................................................................................................................... 65

3.3.12 Touch Auto-Write Option ............................................................................................ 108

3.9 Syncing MASCHINE using Ableton Link ....................................................................................... 159

4.3.3 Auditioning Samples ................................................................................................. 198

5.2.2 Pre-listening to Sounds ............................................................................................. 240

6.1.2 Choosing a Pad Input Mode ....................................................................................... 281

6.6.1 Pitch Mode ................................................................................................................. 332

7.3 Using Native Instruments and External Plug-ins ........................................................................ 371

9.2.8 Kick – Maple .............................................................................................................. 415

9.6.2 Percussion – Kettle .................................................................................................... 465

11.3.2 Editing Events in Step Mode ...................................................................................... 515

11.7.8 Duplicating, Copying, and Pasting Patterns .............................................................. 575

13 Controlling Your Mix .................................................................................................. 650

14.1.2 Other Operations on Effects ....................................................................................... 694

15.3.4 Freq Shifter ................................................................................................................ 747

15.7.6 Stutter ....................................................................................................................... 796

16.3.4 Selecting Sections and Section Banks ....................................................................... 839

16.6 The Arrange Grid ......................................................................................................................... 862

19.2 Technical Support ....................................................................................................................... 945

Thank you for buying MASCHINE!

1.1 MASCHINE Documentation

1.2 Document Conventions

Furthermore, the following formatting is used:

→ Results of actions are introduced by this smaller arrow.

Button Combinations and Shortcuts on Your Controller

Unlabeled Buttons on the Controller

The unlabeled buttons and knobs on the MASCHINE controller.

1.3 New Features in MASCHINE 2.7.10

New Hardware Support

Audio Plug-in Improvements

1.4 New Features in MASCHINE 2.7.8

New Hardware Support

1.5 New Features in MASCHINE 2.7.7

Audio plug-in Improvements

1.6 New Features in MASCHINE 2.7.4

Audio Plug-in Improvements

MASCHINE MK3 Improvements

1.7 New Features in MASCHINE 2.7.3

Audio Plug-in Improvements

MASCHINE Controller Improvements

2.1 Using Your Controller

2.1.1 Controller Modes and Mode Pinning

Pinning the Controller Modes

You can unpin the active mode by pressing Button 1 again.

2.1.2 Controlling the Software Views from Your Controller

→ The Navigate screens appear.

Navigate mode: general navigation.

Navigate mode: page navigation.

► To exit page navigation, press the lit Button 2 (PAGE NAV).

2.2 MASCHINE Project Overview

2.2.1 Sound Content

The workflow of creating ideas in MASCHINE is as follows:

The Song view of a MASCHINE Project.

The workflow of creating an arrangement in MASCHINE is as follows:

▪ Change the position of a Section by dragging the Sections slot.

2.3 MASCHINE Hardware Overview

2.3.1 MASCHINE Hardware Overview