#Native instruments maschine unlocked software

Measuring 320 x 295mm, the Maschine hardware control surface is about the size of a vinyl record sleeve. This is a significant oversight: you should be able to audition different kits with your recorded patterns. The only thing you can do is save out each pattern, change the kit, then load them all back in again. More seriously, you can't change a kit independently of the current patterns: if you load in a kit, it wipes all the patterns that existed in the Group. The library has a category for Patterns, although none are supplied. This is great fun, and if you are recording a pattern, it all gets captured.

An MPC‑style Note Repeat button allows you to auto‑trigger sounds at a chosen rate, and this combines brilliantly with the pressure sensitivity of the pads: you can hold down a pad with Note Repeat, then vary the pressure you exert to add dynamics. The velocity sensitivity can be tweaked from the plug‑in's preferences. I found the pads a pleasure to play, with a sensitive, consistent response. Once a kit is loaded, its 16 samples can be played from the pads.

#Native instruments maschine unlocked software

All this is mirrored in the software if you have the Browser column displayed. Maschine lists the potential candidates on its other screen, and provides controls for selecting and loading your chosen kit. This system is powered by the Library's Kore‑style tagging system. When browsing, the left screen lets you filter the library by category, and choose which level of Maschine's structure to load into (Master, Group or Sound). The first step in most Maschine projects is to press the Browse button to load a kit, loop or sound from the library. Lock & LoadĪn instrument sequence, with effects automation. Drum kits each take up a whole Group of 16 sounds, while Instrument patches and loops only use a single sound slot. In Maschine, each sound element is essentially a sampler, which can contain a single sample or a multisample map. An instance of Maschine offers eight Groups, each of which contains up to 16 sounds, so you can layer numerous parts, including kits, instruments, loops or single samples. These examples are complete productions constructed within Maschine. The first thing I did was explore some of the NI factory projects to get a feel for what Maschine can do. Above the main pads are twin displays and a strip of eight knobs and buttons which make up the main user interface. The buttons and pads are all made of translucent hard rubber, similar to those on Korg's Pad Kontrol, and can all light up. The controller is sturdy, constructed mostly from plastic, with a matt‑black metal front panel. Nearly all operations from this point can be performed from the hardware. You can then launch the stand‑alone app or insert the plug‑in into your DAW of choice. Installation is via a single DVD for the software and library, and a USB cable for the controller. The Maschine software, with Scene manager at the top, device controls in the centre, and pattern/sequence/sample editor at the bottom. The workflow and feature set have also been finely honed, although with some notable exceptions that promise to be addressed later this year. Although the hardware has no sound‑generating capability on its own, the tight integration with the plug‑in gives a similar feel to using a stand‑alone hardware device. With Maschine, NI wanted to take the tactile, free‑flowing production style of hardware instruments like Akai's MPCs and add the benefits of the computer‑based music studio, and they've largely succeeded. The software element runs as a stand‑alone application or as an AU/VST/RTAS plug‑in, while the hardware is a controller for the Maschine software, and also functions as a general‑purpose MIDI controller. Maschine is a beat-production workstation with built‑in drum sequencing, sampling and loop slicing, and is the latest result of NI's initiative to build hybrid hardware and software instruments.

NI's hybrid hardware and software beat machine promises the best of both worlds.