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Other than that (and the top Transport buttons now being slightly narrower), all the buttons are in the same places on the fascia and serve the same purposes they always have. This all certainly enhances Maschine's workﬂow, but MIDI Control mode fans might be a little dismayed at the loss of two knobs. And, with Maschine Mk2 in Browse mode, it can be used to scroll through menus and make selections.

It's the added functionality of the encoder that pushes things forwards, though: with the Volume, Swing and Tempo buttons all inactive, it acts like a jogwheel, replicating the Transport section's Step buttons. On the original Maschine, this comprised Volume, Tempo and Swing knobs, and the Note Repeat button now there's just the one detented push-button encoder and buttons to switch it between Volume, Tempo and Swing modes, as well as single step buttons (the equivalent of one encoder detent left or right), an Enter button (the equivalent of pressing the encoder), and the aforementioned Note Repeat button. In terms of physical layout, the new hardware is identical to the old, with the exception of the Master section, which has been totally redesigned.

Also on a visual tip, the dual backlit screens are now 'inverted' - i.e., white text and waveforms on a black background - making them clearer in low light and just better looking generally. 'Colours can also be assigned to individual patterns and scenes, which makes jumping around within projects intuitive'Ĭolours can also be assigned to individual patterns and scenes, which makes jumping around within projects similarly intuitive. Set your main drum kit group to red, say, your bass instrument group to blue and your pads to green for at-a-glance identiﬁcation of your general instrumentation then colourise the sounds/pads inside each group - kick drums blue, snares red, hi-hats green, etc.

NATIVE INSTRUMENTS MASCHINE PACKS FULL

A cut-down alternative to the full enchilada, Mikro was a triumph of reductive ergonomics but it didn't actually add anything new to the Maschine concept.Įnter Maschine mkII, a seemingly major revision to the pad-tastic box we know and love, arriving at roughly the same time as (and only supported by) version 1.8 of the software.Įvery group and every sound within each group can be set to one of 16 colours in the Maschine software, with assignments mirrored in the hardware. But, apart from some minor tweaks, the hardware remained alone and unchanged until the release of Maschine Mikro last year.

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Over the last three years, the software has been updated many times, watershed improvements including drag-and-drop of MIDI and audio from Maschine into a host DAW, and VST/AU plug-in hosting.

It's possible to work up complete projects or perform live on the Maschine controller without touching the host computer's mouse or even looking at its screen. One of the package's main selling points is the integration between the controller and the software, which is so tight that pretty much every function of the software can be operated directly from the hardware.

NATIVE INSTRUMENTS MASCHINE PACKS PLUS

Plus a few touches unique to each model.'Enter Maschine mkII, a seemingly major revision to the pad-tastic box we know and love' The five models offer a wide range of different characteristics that fundamentally affect the overall sound, giving you a broad palette to start with for your next riff, bass and pad.Īll five share common controls: waveform selection, octave range, mix or independent output volume controls, a noise source and plentiful modulation options. Like the filters, Diva’s oscillators are also modelled on classic hardware. All filters have modulation options and the traditional cutoff and resonance controls, but each has its character, quirks and options. (If you are interested, Urs wrote an in-depth blog post about ZDF.)ĭiva models five different filters found in classic hardware synthesizers. With ZDF, the delays normally produced when modelling analogue circuits are vastly reduced, resulting in a much more authentic resonance behaviour. A combination of realtime circuit simulation and zero delay feedback (ZDF) design gives Diva its remarkable sound. The filters are at the heart of Diva’s analogue sound. One spirit, many flavours Oscillators and Filters

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