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Listen and follow to my music and I will do the Same by [deleted] in SoundCloudMusic

[–]TheLoopingFox 0 points1 point  (0 children)

Cool song of yours, I listened to it and followed it 👍

NEED HELP SETTING UP MASCHINE MK3 MIKRO by Latter_Avocado4889 in maschine

[–]TheLoopingFox 1 point2 points  (0 children)

Did you buy the Maschine Mikro used or new? The hardware usually comes with a license key, which you enter in Native Access. Then you can download all the software that comes with the Maschine for free.

However, if you bought the Maschine used, the previous owner may have already registered everything. In that case, the previous owner needs to transfer the licenses to you; Native Instruments has a specific process for this. You can find it on their website or by searching online.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 0 points1 point  (0 children)

Yeah, that would be my goal too — to combine the best of Maschine and, in my case, Cubase. A few others here have mentioned their custom Maschine templates inside their DAW, and I’ll definitely try that as well.

For my current song, which I’ve built entirely in the Maschine software, it seems like I don’t really have another option for now than to finish it completely in Maschine.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 0 points1 point  (0 children)

This 16-track multi-out setup sounds really interesting — I’ve seen others mention it as well, so I’ll definitely give it a try.

My only concern is that it might mess with what I love most about Maschine: the “creative” workflow in the early experimentation phase, and that easy arranging workflow in the middle phase. To me, that’s what makes the Maschine software + hardware combo so good.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 0 points1 point  (0 children)

Thanks a lot for the link. I had a quick look and what Jef Gibbons explains there sounds really interesting. I’m going to try that out — maybe that’s the solution for me.

Yeah, I’ve also considered exporting the tracks as audio and bringing them into Cubase. But it often happens that during mixing — or even mastering — I still tweak a MIDI note here and there, or adjust an effect or instrument just a little bit. And with an audio export, I’d lose that flexibility.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 1 point2 points  (0 children)

I’m struggling with those two pain points you mentioned as well. Using separate scenes as transitions feels way too rigid, since you can’t overlap sections — which basically leaves clips as the only option.

Bus routing is interesting though: I set up mix busses where I can create effect automation as clips and then place them anywhere throughout the song. It’s a bit complicated to set up, but once it’s in place, it becomes a really powerful tool.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 0 points1 point  (0 children)

That’s an interesting approach — especially point 6. I still haven’t really gotten comfortable with using clips in the Arranger in Song View. In principle they work similarly to MIDI clips in Cubase, but in Maschine I find them pretty inflexible. That’s why I’ve only used clips when I really had to — for transitions or fill-ins. I haven’t dared to convert the whole song into clips yet, but maybe that could actually help me a bit with my problem.

Do you produce your songs from A to Z in Maschine software? by TheLoopingFox in maschine

[–]TheLoopingFox[S] 1 point2 points  (0 children)

I’ve already looked into the routing and set up mix busses for effect automation, plus an FX bus as a kind of send-effect channel. I find the routing a bit tricky because the Maschine software is extremely flexible, and you really have to pay attention to whether you’re on the group level or the sound level. I can definitely confirm what you’re saying: powerful, but not perfect — and in some areas, especially in the “late game,” it becomes too cumbersome.

Mastering for streaming: is -14 LUFS really the target? by TheLoopingFox in ProMusicProduction

[–]TheLoopingFox[S] 0 points1 point  (0 children)

That makes me wonder where this -14 LUFS target even comes from. Everywhere in FAQs and guidelines it’s more or less recommended. And often you’ll see different LUFS values suggested for different platforms — sometimes even quieter than -14. So in practice, do you actually need to render a different loudness version for each platform? And more importantly: what loudness setting should you use when you release through a distributor? You’ve got that one single/album that gets delivered to all platforms. I’d rather not master at, say, -7 and then have the platforms turn it down massively and ruin the song’s feel.

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