IN DA LAB 20 (THAT HIPHOP ISH AGAIN) MPC 2500 Beat Making

Visit http://www.prostudiogear.info for links to sites with the hottest deals on studio equipment
THE PLATINUM-HIT PRODUCER MPC2500 has set the industry benchmark for beat production. It features a 32-voice drum/phrase sampler with up to 128MB RAM and extensive editing capabilities. Designed for professional music-production environments as well as DJs and other live performers, MPC2500 features a time-tested drum-pad surface, twin on-board effects processors, four Q-Link controllers for real-time control, 10 analog outputs, and a S/PDIF digital output. MPC2500 sports a 100,000-note, 64-track sequencer that can be assigned to four different MIDI outputs for a total of 64 independently addressable MIDI channels. Internal sounds reside in flash memory and can easily be swapped out via Compact Flash cards, an optional hard drive, or an optional CD-ROM drive. A CF card with preloaded sounds is included to get you started. M-Audio (formerly Midiman), a business unit of Avid Technology, is a designer and importer of a variety of audio products, including digital audio workstation interfaces, keyboard MIDI controllers, condenser microphones, and studio monitors. The company has independent offices in the US, Canada, UK, Germany, France and Japan. They manufacture primarily in China. After Avid purchased M-Audio, Digidesign and M-Audio cooperated to release a version of Pro Tools tailored for M-Audio sound interfaces, which is targeted to provide products for many home musicians to use a limited version of Digidesigns flagship product. M-Audio aims some products at DJs. This includes turntable-style tactile midi controllers and specialized DJ software. Their PCI and firewire audio interfaces offer analog to digital converters for recording and sound from DAW. Some M-Audio products are portable. These include the Fast Track USB, the MicroTrack II re

Beat Making MPC 2500 IN THA LAB 31: MAKING OF "FEEL IT"

Rapping (also known as emceeing, MCing, spitting (bars), or just rhyming) is the rhythmic spoken delivery of rhymes, wordplay, and poetry. Rapping is a primary ingredient in hip hop music, but the phenomenon predates hip hop culture by centuries. Rapping can be delivered over a beat or without accompaniment. Stylistically, rap occupies a gray area among speech, prose, poetry, and song. The use of the word to describe quick speech or repartee long predates the musical form,[1] meaning originally "to hit".[2] The word had been used in British English since the 16th century, and specifically meaning "to say" since the 18th. It was part of the African American dialect of English in the 1960s meaning "to converse", and very soon after that in its present usage as a term denoting the musical style.[3] Today, the terms "rap" and "rapping" are so closely associated with hip hop music that many use the terms interchangeably. For purposes of clarity, this article focuses on rapping as a technique or activity. For more information on the music genre, see Hip Hop Music.

Akai mpc 2500 Beat Making (In Da Lab 5

PART TO OF IN DA LAB 5
THE PLATINUM-HIT PRODUCER MPC2500 has set the industry benchmark for beat production. It features a 32-voice drum/phrase sampler with up to 128MB RAM and extensive editing capabilities. Designed for professional music-production environments as well as DJs and other live performers, MPC2500 features a time-tested drum-pad surface, twin on-board effects processors, four Q-Link controllers for real-time control, 10 analog outputs, and a S/PDIF digital output. MPC2500 sports a 100,000-note, 64-track sequencer that can be assigned to four different MIDI outputs for a total of 64 independently addressable MIDI channels. Internal sounds reside in flash memory and can easily be swapped out via Compact Flash cards, an optional hard drive, or an optional CD-ROM drive. A CF card with preloaded sounds is included to get you started.
Founded in 1962 in Japan by Tsutomu Kato and Tadashi Osanai, Korg was originally known as Keio Electronic Laboratories (京王技術研究所) because its fledgling offices were located near the Keio train line in Tokyo and Keio can be formed by combining the first letters of Kato and Osanai. Before founding the company, Kato ran a nightclub. Osanai, a Tokyo University graduate and noted accordionist, regularly performed at Kato's club accompanied by a Wurlitzer Sideman rhythm machine. Unsatisfied with the rhythm machine, Osanai convinced Kato to finance his efforts to build a better one.

The company's first product, released in 1963, was an electro-mechanical rhythm device called the Disc Rotary Electric Auto Rhythm machine Donca matic DA-20. Buoyed by the success of the DA-20, Keio released a solid-state version of the Rhythm machine, the Donca matic DE-20, in 1966.

In 1967, Kato was approached by Fumio Mieda, an engineer who wanted to build keyboards. Impressed with Mieda's enthusiasm, Kato asked him to build a prototype and 18 months later Mieda returned with a programmable organ. Keio sold the organ under the name Korg, made from combining keio with organ.

Keio's organ products were successful throughout the late 1960s and early 1970s but, concerned about the competition from other big organ manufacturers, Kato decided to use the organ technology to build a keyboard for the then-niche synthesizer market. Keio's first synthesizer, the MiniKorg, was thus released in 1973.

Following on the success of the Mini-Korg, Keio released a number of budget-minded synthesizers throughout the 1970s and 1980s under the name Korg.

Korg subsequently branched out into the music recording and electric guitar effects market, with some success.

Yamaha Corporation has always been a major partner of Korg, supplying them with circuitry and mechanical parts. In 1987, shortly before the release of the M1 Music Workstation, Yamaha acquired a controlling interest in Korg's stock. The takeover of the company was amicable, with Kato drawing up the terms, and the two companies continued to independently develop their product lines and compete in the marketplace. After the following 5 very successful years, Kato had enough money to rebuy most of the Yamaha share back in 1993.

The Making of R.I.P Roc Raida Beat

I got my firewire hub today and it really made a difference on recording with screenflow software. I've got my mixer recording the audio now. Sounds way better. Another Native Instruments Maschine Beat

Native Instruments is a software instrument company that develops musical hardware and software for professional musicians, producers, DJs, and sound designers.[1] These products include groove production systems; software synthesizers; keyboards, acoustic and electric pianos, drawbar organs, sound modules, and samplers for drums and instrument programming; professional hardware products, such as audio interfaces, controllers, and hardware/software systems; and sound libraries with various sounds, presets, and samples. The company also offers digital vinyl systems, software, and audio interfaces for DJs. In addition, it provides software and hardware products for guitar applications, including software emulations to simulate amps, effects, mics, and cabinets; and hardware pedals and audio interface to control sounds. The company offers its products through a network of resellers, as well as online in Germany and internationally. Native Instruments Software Synthesis GmbH was founded in 1996 and is based in Berlin, Germany with an additional office in Los Angeles, California.[2]

A SCRATCH DETICATION TO A DEEJAY ICON ROC RAIDA

Roc Raida Dead

This has just been confirmed through a Busta Rhymes message on Twitter. Busta tweeted a message saying Roc Raida is dead. We are still awaiting final confirmation of this news but artists and colleagues including Da Beatminerz have stated through social media that turntablism pioneer and instructor Roc Raida has died this weekend. I am sorry 2 say that on this day at 2:05 Sept 19th we lost another incredible life Dj Roc Raida died 2day my personal Dj is gone I just wanna thank everyone 4 ur love and support and ur prayers We will never let ur name die Roc We love u and will 4ever miss u RIP.

This happened just few hours ago and details are still streaming in. While to try to get more information on Roc Raida, please leave your condolence messages below. The New York-based deejay was most known for his years with the award-winning X-Men (b/k/a) The X-Ecutioners. This crew, whose legendary lineup included founder Rob Swift, Total Eclipse, Mista Sinista and Roc Raida (Steve Dee, DJ Boogie Blind and DJ Precision were also members at various times).

Fans would remember that some time back we had reported Roc Raida was hospitalized as a result of a spinal injury.

Funeral Plans for Roc Raida

Roc Raida was 37 years old and had won numerous awards and recognitions in his field.

Buy Roc Raida Music The DJ/Producer Series: How 2 Party Rock

RIP Roc Raida!

Pioneering DJ Grand Master Roc Raida Dead

X-Ecutioners member and legendary turntablist Grand Master Roc Raida died this morning representatives of the DJ confirmed this story




The legendary Grand Master Roc Raida has passed away this morning, a representative for the DJ told Family and friends will miss him dearly. Please give the family their privacy.




The source refused to give details of his illness or injury, or even the cause of Roc Raidas death, but did state that previous reports of an injury during karate class or a car accident were inaccurate.




The rep confirmed that Roc Raida was hospitalized last week, but would only state that the DJs death was totally unexpected.

Kanye West # 1 Fan Taylor Swift who???

Video Music Awards was when rapper Kanye West rushed the stage during country singer Taylor Swift's acceptance speech for her Best Female Video award. But West, who was asked to leave Radio City Music Hall shortly after his tantrum, has since taken to his blog to apologize for his stage crashing tirade.



"I'm sooooo sorry to Taylor Swift and her fans and her mom," he wrote. "I spoke to her mother right after and she said the same thing my mother would've said. She is very talented! I like the lyrics about being a cheerleader and she's in the bleachers! I'm in the wrong for going on stage and taking away from her moment!"



When Swift was in the middle of her accepting the honor, West rushed onto the stage and protested her win, saying Beyoncé instead deserved the honor. "I'm sorry, but Beyoncé had one of the best videos of all time," he proclaimed as Beyoncé looked on from the crowd, stunned.



"Beyoncé's video was the best of this decade!!!! I'm sorry to my fans if I let you guys down!!!! I'm sorry to my friends at MTV. I will apologize to Taylor 2mrw," West continued on his blog. "Welcome to the real world!!!! Everybody wanna booooo me but I'm a fan of real pop culture!!! No disrespect but we watchin' the show at the crib right now cause...well you know!!!! I'm still happy for Taylor!!!! Boooyaaawwww!!!! You are very very talented!!! I gave my awards to Outkast when they deserved it over me...That's what it is!!!!!!! I'm not crazy y'all, i'm just real. Sorry for that!!! I really feel bad for Taylor and I'm sincerely sorry!!! Much respect!!!!!"



Another shocking moment was when rapper Lil Mama jumped on stage during Jay-Z and Alicia Keys' closing performance of "Empire State of Mind," off Jay-Z's latest album, "Blueprint 3." But Lil Mama didn't get off the stage without some heat from Jay, who told her she was trying to "T-Pain" him.





"You gonna T-Pain me?" Jay-Z said to Mama, alluding to this summer's Hot 97 (WQHT) Summer Jam show, when an uninvited T-Pain stood on stage as Jay-Z introduced and performed his latest track, "D.O.A. (Death of Auto-Tune)." T-Pain has since taken verbal stabs at Jay-Z, specifically during a show in Las Vegas during Labor Day weekend, when he denounced Jay-Z for his age.

protools recording on digidesign m box The "Aww Yeah" Premier Paypachayse feat. Chad Cooper

Rapping (also known as emceeing, MCing, spitting (bars), or just rhyming) is the rhythmic spoken delivery of rhymes, wordplay, and poetry. Rapping is a primary ingredient in hip hop music, but the phenomenon predates hip hop culture by centuries. Rapping can be delivered over a beat or without accompaniment. Stylistically, rap occupies a gray area among speech, prose, poetry, and song. The use of the word to describe quick speech or repartee long predates the musical form,[1] meaning originally "to hit".[2] The word had been used in British English since the 16th century, and specifically meaning "to say" since the 18th. It was part of the African American dialect of English in the 1960s meaning "to converse", and very soon after that in its present usage as a term denoting the musical style.[3] Today, the terms "rap" and "rapping" are so closely associated with hip hop music that many use the terms interchangeably. For purposes of clarity, this article focuses on rapping as a technique or activity. For more information on the music genre, see Hip Hop Music. Rapping can be traced back to its African roots. Centuries before hip hop music existed, the griots of West Africa were delivering stories rhythmically, over drums and sparse instrumentation. Such connections have been acknowledged by many modern artists, modern day "griots", spoken word artists, mainstream news sources, and academics.[4][5][6][7] Blues music, rooted in the work songs and spirituals of slavery and influenced greatly by West African musical traditions, was first played by blacks (and some whites) in the Mississippi Delta region of the United States around the time of the Emancipation Proclamation. Grammy-winning blues musician/historian Elijah Wald and others have argued that the blues were being rapped as early as the 1920s.[8][9] Wald went so far as to call hip hop "the living blues."[8] Jazz, which developed from the blues and other African-American and European musical traditions and originated around the beginning of the 20th century, has also influenced hip hop and has been cited as a precursor of hip hop. Not just jazz music and lyrics but also Jazz poetry. According to John Sobol, the jazz musician and poet who wrote Digitopia Blues, rap "bears a striking resemblance to the evolution of jazz both stylistically and formally."[10] The spoken word jazz poetry of the United States was a predecessor for beat poetry, as well as the rapping in hip hop music. Gil Scott-Heron, a jazz poet/musician who wrote and released such seminal songs as The Revolution Will Not Be Televised, H2OGate Blues Part 2: We Beg Your Pardon America and Johannesberg, has been cited as an influence on many rappers. His collaborational work with musician Brian Jackson (Pieces of a Man, Winter in America) have been cited as major influences on hip hop, in terms of sound and lyrical style. Similar in style, the Last Poets who formed in 1969 recited political poetry over drum beats and other instrumentation, and were another predecessor for rap music. They released their debut album in 1970 reaching the top ten on the Billboard charts. During the mid-20th century, the musical culture of the Caribbean was constantly influenced by the concurrent changes in American music. As early as 1956,[11] deejays were toasting (an African tradition of "rapped out" tales of heroism) over dubbed Jamaican beats. It was called "rap", expanding the word's earlier meaning in the African-American community—"to discuss or debate informally."[12] One of the first rappers in the beginning of the hip hop period, in the end of '70s, was also hip hop's first DJ, Kool Herc. Herc, a Jamaican immigrant, started delivering simple raps at his parties, inspired by the Jamaican tradition of toasting.

Cute Baby Talking

http://www.prostudiogear.info
http://www.prodjgear.info
A lot of people dont like this video. Hey I had a lot of fun making this video
Babies grow up quickly; it's important to capture the happiness and beauty of your child as he or she grows from day to day. lmao

bite finger funny boys Harry Charlie bit me Laughing Baby crying best giggle cute adorable comedy real bath duet cousin cousins two bubbles Cute Twins Babies Funny Boys baby

Just Bought Native Instruments Maschine Groove Box

http://www.prostudiogear.info
http://www.prodjgear.info
Just bought native instruments maschine!!

MASCHINE is a groove-box style controller and groove-production software package for Mac OS X and Windows. The hardware interface features USB 2.0 and MIDI I/O connections, 16 touch-sensitive illuminated pads, endless rotary encoders, back-lit buttons and 2 large high-resolution displays. MASCHINE delivers groove-box style sequencing, audio manipulation and production with all the benefits of computer software. The software is stocked with a 5GB sample library that includes drum kits, synth sounds, loops and more. The touch sensitive pads make it easy to sequence drum patterns, base lines, loops, etc. An external keyboard controller may be connected via the MIDI I/O connections on the rear. Two large high-resolution displays, intuitive sample search engine and a host of controls provide all the features necessary to program and sequence grooves, without having to manipulate the software itself. With Native Instruments MASCHINE; DJs, producers, musicians and enthusiasts can write production quality grooves quickly and easily. Features Groove-box controller with 16 drum pads and groove production software 5GB sample library with drum kits, loops and more Built-in effects for audio manipulation Stand alone software or plug-in style operation Bus powered, USB 2.0 port MIDI I/O ports for an external keyboard controller High-resolution digital displays Intuitive sample search library Specification Connections: USB 2.0 MIDI I/O Controls: 2 Displays with 64 x 256 pixels 16 High-quality, illuminated pads with velocity and aftertouch 11 Endless rotary encoders 41 Backlit buttons System Requirements: Windows XP (SP2, 32-bit)/Vista (SP1, 32-bit, 64-bit), Pentium or Athlon XP 2GHz, 2GB RAM Mac OS X 10.4, Intel Core Duo 2GHz, 2GB RAM Supported Interfaces VST, Audio Units, or RTAS (under Pro Tools 7/8) plug-in, ASIO, Core Audio, DirectSound, WASAPI Dimensions: (WxHxL) 12.6 11.6 x 2.4" (320 x 295 x 60mm) Weight: 4 lbs (1811g)

Scratching Turntablism

serato scratch live. I wish I had serato or tracktor scratch Pro
This video was suppose to be 4 minutes long. I dont know what happen.
DJ Systems
DJ CD Players
DJ Turntables
DJ Mixers
DJ MP3 Players
Computer DJ
DJ Processors and Effects
DJ Accessories
DJ Cases
DJ Lighting
DJ Books, Videos, and CD-ROMs
Karaoke
Rane TTM 57SL DJ Mixer with Serato Scratch Live Rane Serato Scratch Live SL3 USB Interface
Vestax
Gemini
Stanton
American Audio
Numark
Numark Featured
Denon
Pioneer
Native Instruments Traktor Scratch Pro DJ Software and Audio Interface
Native Instruments Traktor Scratch Duo DJ Audio Interface with Software Native Instruments Traktor Pro DJ Software
# Learn your music theory. Many DJs - even professional DJs - have no knowledge of music theory. Begin your education now. A turntablist is a percussionist, which means you need to have a good understanding of rhythm. You will be practicing scratching to music and then eventually making music using records. When you are scratching to a beat, you are scratching out a rhythm. If you have a complete understanding of rhythm, you can develop your skills to recreate these rhythms properly.
# Learn about rhythm: most hip hop and dance music is in 4/4. That means for each bar of music there are 4 beats. Each beat can be subdivided in only a finite amount of ways. Count these out loud while you listen to music. Each beat will be place between

Scratching Turntablism

serato scratch live. I wish I had serato or tracktor scratch Pro
This video was suppose to be 4 minutes long. I dont know what happen.
DJ Systems
DJ CD Players
DJ Turntables
DJ Mixers
DJ MP3 Players
Computer DJ
DJ Processors and Effects
DJ Accessories
DJ Cases
DJ Lighting
DJ Books, Videos, and CD-ROMs
Karaoke
Rane TTM 57SL DJ Mixer with Serato Scratch Live Rane Serato Scratch Live SL3 USB Interface
Vestax
Gemini
Stanton
American Audio
Numark
Numark Featured
Denon
Pioneer
Native Instruments Traktor Scratch Pro DJ Software and Audio Interface
Native Instruments Traktor Scratch Duo DJ Audio Interface with Software Native Instruments Traktor Pro DJ Software
# Learn your music theory. Many DJs - even professional DJs - have no knowledge of music theory. Begin your education now. A turntablist is a percussionist, which means you need to have a good understanding of rhythm. You will be practicing scratching to music and then eventually making music using records. When you are scratching to a beat, you are scratching out a rhythm. If you have a complete understanding of rhythm, you can develop your skills to recreate these rhythms properly.
# Learn about rhythm: most hip hop and dance music is in 4/4. That means for each bar of music there are 4 beats. Each beat can be subdivided in only a finite amount of ways. Count these out loud while you listen to music. Each beat will be place between

Beat Making Native Insturments Maschine 3

Sorry about all the glitches and cracking sound. It takes a lot of cpu memory to record the cpu screen,soundcard and video at the same time. I've got 4 gigs in my computer. I guess I need to max it out to 8 gigs.
Making a beat on Native Instruments Maschine Groove Box Native Instruments MASCHINE is a groove-box style controller and groove-production software package for Mac OS X and Windows. The hardware interface features USB 2.0 and MIDI I/O connections, 16 touch-sensitive illuminated pads, endless rotary encoders, back-lit buttons and 2 large high-resolution displays. MASCHINE delivers groove-box style sequencing, audio manipulation and production with all the benefits of computer software. The software is stocked with a 5GB sample library that includes drum kits, synth sounds, loops and more. The touch sensitive pads make it easy to sequence drum patterns, base lines, loops, etc. An external keyboard controller may be connected via the MIDI I/O connections on the rear. Two large high-resolution displays, intuitive sample search engine and a host of controls provide all the features necessary to program and sequence grooves, without having to manipulate the software itself. With Native Instruments MASCHINE; DJs, producers, musicians and enthusiasts can write production quality grooves quickly and easily. Features Groove-box controller with 16 drum pads and groove production software 5GB sample library with drum kits, loops and more Built-in effects for audio manipulation Stand alone software or plug-in style operation Bus powered, USB 2.0 port MIDI I/O ports for an external keyboard controller High-resolution digital displays Intuitive sample search library Specification Connections: USB 2.0 MIDI I/O Controls: 2 Displays with 64 x 256 pixels 16 High-quality, illuminated pads with velocity and aftertouch 11 Endless rotary encoders 41 Backlit buttons System Requirements: Windows XP (SP2, 32-bit)/Vista (SP1, 32-bit, 64-bit), Pentium or Athlon XP 2GHz, 2GB RAM Mac OS X 10.4, Intel Core Duo 2GHz, 2GB RAM Supported Interfaces VST, Audio Units, or RTAS (under Pro Tools 7/8) plug-in, ASIO, Core Audio, DirectSound, WASAPI Dimensions: (WxHxL) 12.6 11.6 x 2.4" (320 x 295 x 60mm) Weight: 4 lbs (1811g)

Beat making On Native Instruments Maschine 4

Producer djkay makes a beat on native instruments maschine beat making tutorial
Native Instruments' brand new groove production studio is the next milestone in NI history. The unparalleled integration of hardware and software found only in MASCHINE is your launching pad for creating pattern-based music with an incredibly fast and fun workflow. The first of three whopping announcements from Native Instruments to arrive to Gearwire studio through the old news-pipe was the release of MASCHINE at Winter NAMM 2009. MASCHINE is a modern groove production studio that must be screamed when its name is spoken! Easing and speeding the processes of beat creation and arrangement, MASCHINE dream teams an advanced soft sequencer and sampler with a heavily functional controller, capped off with fluid workflow. Designed with drum machines and grooveboxes in mind, MASCHINE's step sequencer handles everything from spontaneous beat making to focused multi-timbre arrangements. It combines familiar step sequencer operation with realtime polyphonic recording. The MASCHINE controller included with the system is almost like a limb of the software program, adding the tactility of real instrumentation. It contains 16 pressure-sensitive drum pads which were built to provide both excellent response and mighty durability. These pads, which illuminate to display visual sequences, are joined by eight rotary encoders, a wealth of buttons and two high-res displays, meaning your computer mouse and keyboard can sit these sessions out. Everything you need to control MASCHINE is right there on the control surface. It's such a nice surface I bet you wish you could control any MIDI compatible music gear with it. Well guess what . . . YOU CAN! With a high-resolution sample engine under the hood, MASCHINE is a versatile virtual instrument that accurately represents intricate drum kits, percussion loops and multi-sampled polyphonic instruments. Automatic sample mapping, beat slicing and note repeat sweeten the deal. MASCHINE's realtime recording and resampling capabilites let you take any signal, external or internal, and capture, map, sculpt and transform it without interrupting musical flow. Even if your sound library is a bit slim, MASCHINE will fatten it up with virtual shelves full of drum and instrument sounds that cover a wide range of modern and electronic-dependent styles. There are about 10,000 individual sounds overall, so you've got a lot to work with. A browser that works with categories and concise metadata brings this overwhelming amount of samples to an acceptable level of whelming.

Just Got My Native Instruments Maschine Groove Box

Native Instruments recently launched its new Kontakt Player, a free high quality sample player based on Kontakt.

It comes with Kontakt Factory Selection, a free sound library which contains 650 MB of premium sounds and instruments from Kontakt 3.

Now you might think Native Instruments is being very generous offering these fine sounds free of cost, but of course they have a cunning plan: Get you hooked on Kontakt and make sure you will expand your sound library with commercial Kontakt Player libraries.

Maschine Drum Selection is one of the two first libraries available for the new Kontakt Player. As its title suggest, this product features a bunch of drum kits from Maschine’s sound library.

This collection contains 20 full drum kits adapted from the hot new MASCHINE library. With hard hitting urban kits, sounds recorded from specially produced vinyl dubplates, heavily processed acoustic drums and vintage analog samples, MASCHINE DRUM SELECTION truly provides a broad palette of modern club and electronic music styles.

Maschine Drum Selection features

* Contains 20 drum kits from the MASCHINE library.
* 5 Urban, 5 Digital, 4 Analog, 2 Vinyl and 4 Production Kits.
* Each kit consists of 16 high-quality sounds to which tuning, filter, saturation and other effects can be applied individually, allowing for plenty of sound-shaping potential.
* The drum kits can also be loaded into the full versions of Kontakt 3.5, Battery 3 and Kore 2 as well as in the free Kore Player.

Maschine Drum Selection is available for purchase for $59 USD / 49 EUR. An audio demo is available from the product page.

More information: Native Instruments
So what do I think?

I liked the drum kits in Maschine so obviously I like them in Maschine Drum Selection as well. Even though Native Instruments says in the manual that the samples used are the same as the ones in the Maschine library, some of the kits do sound a little different since they use effects like saturation, lo-fi, reverb etc. I didn’t do a full comparison but just noticed this for kits I knew from the Maschine library.

Maschine Drum Selection includes a step sequencer (Drum Computer in the screenshot) which will let you create new beats with just a few clicks of the mouse, using the Remix function for instant variations on patterns.

In short, a very nice collection of drum kits.

The only thing I am not too sure about is the price. I feel $59 USD might be a little steep for 20 drum kits. This has nothing to do with the quality of the kits provided, but rather with the fact that there is a lot of choice when it comes to drum sounds.

What do you think? For those who bought it, is the price right?

Beat Makers Native Instruments Maschine Groove Box Users Network

Native Instruments' brand new groove production studio is the next milestone in NI history. The unparalleled integration of hardware and software found only in MASCHINE is your launching pad for creating pattern-based music with an incredibly fast and fun workflow. The first of three whopping announcements from Native Instruments to arrive to Gearwire studio through the old news-pipe was the release of MASCHINE at Winter NAMM 2009. MASCHINE is a modern groove production studio that must be screamed when its name is spoken! Easing and speeding the processes of beat creation and arrangement, MASCHINE dream teams an advanced soft sequencer and sampler with a heavily functional controller, capped off with fluid workflow. Designed with drum machines and grooveboxes in mind, MASCHINE's step sequencer handles everything from spontaneous beat making to focused multi-timbre arrangements. It combines familiar step sequencer operation with realtime polyphonic recording. The MASCHINE controller included with the system is almost like a limb of the software program, adding the tactility of real instrumentation. It contains 16 pressure-sensitive drum pads which were built to provide both excellent response and mighty durability. These pads, which illuminate to display visual sequences, are joined by eight rotary encoders, a wealth of buttons and two high-res displays, meaning your computer mouse and keyboard can sit these sessions out. Everything you need to control MASCHINE is right there on the control surface. It's such a nice surface I bet you wish you could control any MIDI compatible music gear with it. Well guess what . . . YOU CAN! With a high-resolution sample engine under the hood, MASCHINE is a versatile virtual instrument that accurately represents intricate drum kits, percussion loops and multi-sampled polyphonic instruments. Automatic sample mapping, beat slicing and note repeat sweeten the deal. MASCHINE's realtime recording and resampling capabilites let you take any signal, external or internal, and capture, map, sculpt and transform it without interrupting musical flow. Even if your sound library is a bit slim, MASCHINE will fatten it up with virtual shelves full of drum and instrument sounds that cover a wide range of modern and electronic-dependent styles. There are about 10,000 individual sounds overall, so you've got a lot to work with. A browser that works with categories and concise metadata brings this overwhelming amount of samples to an acceptable level of whelming.

Beat making On Native Instruments Maschine 5

MASCHINE, Native Instruments' brand new groove production studio is the next milestone in NI history. The unparalleled integration of hardware and software found only in MASCHINE is your launching pad for creating pattern-based music with an incredibly fast and fun workflow.

The first of three whopping announcements from Native Instruments to arrive to Gearwire studio through the old news-pipe was the release of MASCHINE at Winter NAMM 2009. MASCHINE is a modern groove production studio that must be screamed when its name is spoken! Easing and speeding the processes of beat creation and arrangement, MASCHINE dream teams an advanced soft sequencer and sampler with a heavily functional controller, capped off with fluid workflow.

Designed with drum machines and grooveboxes in mind, MASCHINE's step sequencer handles everything from spontaneous beat making to focused multi-timbre arrangements. It combines familiar step sequencer operation with realtime polyphonic recording.

The MASCHINE controller included with the system is almost like a limb of the software program, adding the tactility of real instrumentation. It contains 16 pressure-sensitive drum pads which were built to provide both excellent response and mighty durability. These pads, which illuminate to display visual sequences, are joined by eight rotary encoders, a wealth of buttons and two high-res displays, meaning your computer mouse and keyboard can sit these sessions out. Everything you need to control MASCHINE is right there on the control surface. It's such a nice surface I bet you wish you could control any MIDI compatible music gear with it. Well guess what . . . YOU CAN!

With a high-resolution sample engine under the hood, MASCHINE is a versatile virtual instrument that accurately represents intricate drum kits, percussion loops and multi-sampled polyphonic instruments. Automatic sample mapping, beat slicing and note repeat sweeten the deal. MASCHINE's realtime recording and resampling capabilites let you take any signal, external or internal, and capture, map, sculpt and transform it without interrupting musical flow.

Even if your sound library is a bit slim, MASCHINE will fatten it up with virtual shelves full of drum and instrument sounds that cover a wide range of modern and electronic-dependent styles. There are about 10,000 individual sounds overall, so you've got a lot to work with. A browser that works with categories and concise metadata brings this overwhelming amount of samples to an acceptable level of whelming.

Kanye West expresses Swift regret on blog and 'The Jay Leno

One of the most talked about moments of last night's MTV Video Music Awards was when rapper Kanye West rushed the stage during country singer Taylor Swift's acceptance speech for her Best Female Video award. But West, who was asked to leave Radio City Music Hall shortly after his tantrum, has since taken to his blog to apologize for his stage crashing tirade.



"I'm sooooo sorry to Taylor Swift and her fans and her mom," he wrote. "I spoke to her mother right after and she said the same thing my mother would've said. She is very talented! I like the lyrics about being a cheerleader and she's in the bleachers! I'm in the wrong for going on stage and taking away from her moment!"



When Swift was in the middle of her accepting the honor, West rushed onto the stage and protested her win, saying Beyoncé instead deserved the honor. "I'm sorry, but Beyoncé had one of the best videos of all time," he proclaimed as Beyoncé looked on from the crowd, stunned.



"Beyoncé's video was the best of this decade!!!! I'm sorry to my fans if I let you guys down!!!! I'm sorry to my friends at MTV. I will apologize to Taylor 2mrw," West continued on his blog. "Welcome to the real world!!!! Everybody wanna booooo me but I'm a fan of real pop culture!!! No disrespect but we watchin' the show at the crib right now cause...well you know!!!! I'm still happy for Taylor!!!! Boooyaaawwww!!!! You are very very talented!!! I gave my awards to Outkast when they deserved it over me...That's what it is!!!!!!! I'm not crazy y'all, i'm just real. Sorry for that!!! I really feel bad for Taylor and I'm sincerely sorry!!! Much respect!!!!!"



Another shocking moment was when rapper Lil Mama jumped on stage during Jay-Z and Alicia Keys' closing performance of "Empire State of Mind," off Jay-Z's latest album, "Blueprint 3." But Lil Mama didn't get off the stage without some heat from Jay, who told her she was trying to "T-Pain" him.





"You gonna T-Pain me?" Jay-Z said to Mama, alluding to this summer's Hot 97 (WQHT) Summer Jam show, when an uninvited T-Pain stood on stage as Jay-Z introduced and performed his latest track, "D.O.A. (Death of Auto-Tune)." T-Pain has since taken verbal stabs at Jay-Z, specifically during a show in Las Vegas during Labor Day weekend, when he denounced Jay-Z for his age.

korg triton classic keyboard.

Korg Triton is a music workstation synthesizer featuring digital sampling and sequencing created by Korg. All Tritons use Korg's HI Synthesis tone generator. They are available in several models and various upgrade configurations. The Triton is world famous among many musicians for being the benchmark of keyboard technology, and is widely featured in music videos and live concerts. In the NAMM Show 2007, Korg announced the Triton successor: the Korg M3.
Contents
[hide]

* 1 History
* 2 Models
o 2.1 Classic
o 2.2 Rack
o 2.3 Karma
o 2.4 Le
o 2.5 Extreme
o 2.6 TR
o 2.7 X50 and MicroX
* 3 Features
* 4 Specifications
* 5 Notable users
* 6 See also
* 7 References
* 8 External links

[edit] History

The Korg Triton line may be seen as the direct descendants of the previous Korg Trinity line of workstations. They are aesthetically and functionally very similar. The Trinity had similar naming conventions with the Triton Classic, with Pro and Pro X being designated to models featuring 76 and 88 keys respectively.

The original Triton introduced many improvements over the Trinity, like 62-note polyphony, arpeggiator, onboard sampler, faster operating system and more realtime controllers. However, to much surprise of musicians and magazines, it lost the sequencer audio tracks, digital input and output, and the digital filter section was downgraded, thus limiting sample-based synthesis. The original piano samples, which are a crucial element of evaluation on expensive synths and music workstations, were even more criticized; although the integrated sample RAM could compensate this. As time passed, some of these shortcomings were fixed, like the digital connectivity, and better piano samples were shipped with newer models; however, the sample-based synthesis filter section wasn't improved and, while some limited 2-track audio recording was added to later revisions of the Triton Studio, the powerful 4-track audio sequencer of the Trinity never returned to the saga.

Ex-Dream Theater keyboardist Derek Sherinian in collaboration with KORG sound designer Jack Hotop created Sherinian's signature guitar lead sound on the KORG Trinity in 1996, and expanded it to the Triton in 2000[1].

[edit] Models

[edit] Classic

All Tritons are based on the so-called "Classic" Triton released in 1999. The "Classic" Triton was named "Pro" when configured with 76 keys and "Pro X" with 88 keys. Otherwise its functions and features were the same. The Triton Studio had built-in S/PDIF input and output. It could be fitted with an optional hard drive, CD-R/W drive and a "Digital Interface" board providing ADAT output and Word Clock.

[edit] Rack
Korg Triton rack

The Triton Rack was the rackmount version of the Triton. As musicians would use it as a sound module rather than a complete workstation, requiring a separate keyboard to control it via MIDI, it was designed with different abilities. Although it has no keyboard, it has the advantage of being able to store up to eight EXB boards containing additional sounds, and features a built-in S/PDIF digital output. It also supports the "Digital Interface" board.

[edit] Karma

The Korg KARMA was released in 2001 with the Triton synthesis technology but without the sampling functionality. It instead included the more specialised KARMA music system. It was only available in a 61-key version.

[edit] Le

The Triton Le, released in 2002, was a stripped-down, streamlined version of the original Triton (released in 2000). It replaced the huge touchscreen by a more conventional, smaller, graphic LCD. The ribbon controller was also lost in the transition, along with the disk drive. A Smartmedia slot was offered instead. The most serious changes were the keybed (lighter and cheaper than the used in the Trinity/Triton range) and the effects section. Taking a step back from the powerful effects sections found on the Trinity/Triton series, the Le's section was downgraded from five insert FX to just one. The MOSS, Z1-based board, can't be fitted on the Le. The sequencer and arpeggiator remained as powerful as on the original Triton, though.
Korg Triton "Le"

At a much lower price than the original Tritons, the Le was nevertheless a commercial success. An interesting fact about the Le is the onboard sample RAM: it can load samples from the Smartmedia slot, without the sampling board fitted.

A special edition of Le was released featuring a black body, and later the TR was released, but both are not the same.

3 versions of "Le" are available :
Triton Le 61 - 61 keys
Triton Le 76 - 76 keys
Triton Le 88 - 88 keys (RH2 Real Weighted Hammer Action)

[edit] Extreme

In 2004 Korg released the Triton Extreme, which boasted many of the features of the Studio (such as the entire PCM ROM from the Studio model) plus the ENTIRE sample sets from Korg's best-selling Trance Attack, Orchestral Collection, and Vintage Archives expansion boards, as well as the BEST OF Korg's Dance Extreme, Studio Essentials, and Pianos/Classic Keyboards collections. It also has new PCM data that is not available on any other Triton models including improved pianos and acoustic guitars giving it a broad range of sound, 160 MB total compared to the 32 MB ROM of the classic Triton. Also featured in the Triton Extreme is Valve Force circuitry, using a vacuum tube and an analog ultra gain transistor to allow for warmer, guitar amp-like sounds for more extreme analog overdrive/distortion sounds, and is especially useful for warm luscious pads and organs, and adding depth and realism to acoustic sounds, especially piano. Unlike the previous Tritons, which were white-silver, the Extreme boasts a deep blue color. Like the Triton "Classic" and Studio, the Triton Extreme includes a touch screen interface, along with the usual knobs and buttons. It can use a USB cable to interface with a PC allowing exchange of samples, sound programs, sequences, and other Triton-compatible files through an installable Compact Flash card. CompactFlash and microdrive cards up to 8 GB are supported, negating the need to sample directly to RAM. The USB port also allows control over software synths and host applications over via MIDI. However, unlike the Classic, Studio, and Rack versions, the Extreme can not be fitted with sample expansion boards due to the expansion ROMs having been pre-installed. However, it is compatible with the MOSS board, as is up to 96 MB of sample RAM. Also missing are SCSI and mLAN. Also, the ADAT option was not available, but there were optical stereo S/PDIF ins and outs, although it is impossible to use the Valve Force Tube with them. Also, there is another USB Type A connector, which can be used to connect a USB Hard Drive or a CD-R Drive for making music CD's and loading AKAI format sample libraries.
Triton Extreme

[edit] TR

Released in 2006, the TR is similar to the Triton Le but has expanded ROM and additional programs and combinations. It also uses a USB cable for data connection with a PC. The TR also replaces the SmartMedia card slot found in the Le with an SD card slot. Although it is similar, it is not simply the black Le, which was released as a limited series. Piano sound is really improved.

[edit] X50 and MicroX

Released in 2007, these keyboards are oriented towards the lower end of the market and correspondingly are built lighter, with fewer features. The internals of both are identical: they contain the TR version of the HI engine and a ROM with both the original Triton sound programs and a completely new set, but they have no sequencing or expansion capability. USB connection remains available for data connection, but incompatibilities with the other Tritons hamper use of libraries for those keyboards. The difference between the two keyboards is in scale and control layout: the X50 is a 61-key keyboard, while the MicroX is only 25 keys.

[edit] Features

All models, except the Triton Rack and KARMA, are available in 61, 76 and 88-key configurations. They can also be upgraded with increased sample EDO RAM as well as Triton expansion boards for additional sounds (the Triton Le is the only member of the family that does not provide this feature, and therefore should be considered as the 'closed box'). The Triton "Classic", Extreme, and Studio boasted touch screen capabilities. The KARMA, Le, and Rack, however, used a more conventional display.

korg triton classic keyboard.

Korg Triton is a music workstation synthesizer featuring digital sampling and sequencing created by Korg. All Tritons use Korg's HI Synthesis tone generator. They are available in several models and various upgrade configurations. The Triton is world famous among many musicians for being the benchmark of keyboard technology, and is widely featured in music videos and live concerts. In the NAMM Show 2007, Korg announced the Triton successor: the Korg M3.
Contents
[hide]

* 1 History
* 2 Models
o 2.1 Classic
o 2.2 Rack
o 2.3 Karma
o 2.4 Le
o 2.5 Extreme
o 2.6 TR
o 2.7 X50 and MicroX
* 3 Features
* 4 Specifications
* 5 Notable users
* 6 See also
* 7 References
* 8 External links

[edit] History

The Korg Triton line may be seen as the direct descendants of the previous Korg Trinity line of workstations. They are aesthetically and functionally very similar. The Trinity had similar naming conventions with the Triton Classic, with Pro and Pro X being designated to models featuring 76 and 88 keys respectively.

The original Triton introduced many improvements over the Trinity, like 62-note polyphony, arpeggiator, onboard sampler, faster operating system and more realtime controllers. However, to much surprise of musicians and magazines, it lost the sequencer audio tracks, digital input and output, and the digital filter section was downgraded, thus limiting sample-based synthesis. The original piano samples, which are a crucial element of evaluation on expensive synths and music workstations, were even more criticized; although the integrated sample RAM could compensate this. As time passed, some of these shortcomings were fixed, like the digital connectivity, and better piano samples were shipped with newer models; however, the sample-based synthesis filter section wasn't improved and, while some limited 2-track audio recording was added to later revisions of the Triton Studio, the powerful 4-track audio sequencer of the Trinity never returned to the saga.

Ex-Dream Theater keyboardist Derek Sherinian in collaboration with KORG sound designer Jack Hotop created Sherinian's signature guitar lead sound on the KORG Trinity in 1996, and expanded it to the Triton in 2000[1].

[edit] Models

[edit] Classic

All Tritons are based on the so-called "Classic" Triton released in 1999. The "Classic" Triton was named "Pro" when configured with 76 keys and "Pro X" with 88 keys. Otherwise its functions and features were the same. The Triton Studio had built-in S/PDIF input and output. It could be fitted with an optional hard drive, CD-R/W drive and a "Digital Interface" board providing ADAT output and Word Clock.

[edit] Rack
Korg Triton rack

The Triton Rack was the rackmount version of the Triton. As musicians would use it as a sound module rather than a complete workstation, requiring a separate keyboard to control it via MIDI, it was designed with different abilities. Although it has no keyboard, it has the advantage of being able to store up to eight EXB boards containing additional sounds, and features a built-in S/PDIF digital output. It also supports the "Digital Interface" board.

[edit] Karma

The Korg KARMA was released in 2001 with the Triton synthesis technology but without the sampling functionality. It instead included the more specialised KARMA music system. It was only available in a 61-key version.

[edit] Le

The Triton Le, released in 2002, was a stripped-down, streamlined version of the original Triton (released in 2000). It replaced the huge touchscreen by a more conventional, smaller, graphic LCD. The ribbon controller was also lost in the transition, along with the disk drive. A Smartmedia slot was offered instead. The most serious changes were the keybed (lighter and cheaper than the used in the Trinity/Triton range) and the effects section. Taking a step back from the powerful effects sections found on the Trinity/Triton series, the Le's section was downgraded from five insert FX to just one. The MOSS, Z1-based board, can't be fitted on the Le. The sequencer and arpeggiator remained as powerful as on the original Triton, though.
Korg Triton "Le"

At a much lower price than the original Tritons, the Le was nevertheless a commercial success. An interesting fact about the Le is the onboard sample RAM: it can load samples from the Smartmedia slot, without the sampling board fitted.

A special edition of Le was released featuring a black body, and later the TR was released, but both are not the same.

3 versions of "Le" are available :
Triton Le 61 - 61 keys
Triton Le 76 - 76 keys
Triton Le 88 - 88 keys (RH2 Real Weighted Hammer Action)

[edit] Extreme

In 2004 Korg released the Triton Extreme, which boasted many of the features of the Studio (such as the entire PCM ROM from the Studio model) plus the ENTIRE sample sets from Korg's best-selling Trance Attack, Orchestral Collection, and Vintage Archives expansion boards, as well as the BEST OF Korg's Dance Extreme, Studio Essentials, and Pianos/Classic Keyboards collections. It also has new PCM data that is not available on any other Triton models including improved pianos and acoustic guitars giving it a broad range of sound, 160 MB total compared to the 32 MB ROM of the classic Triton. Also featured in the Triton Extreme is Valve Force circuitry, using a vacuum tube and an analog ultra gain transistor to allow for warmer, guitar amp-like sounds for more extreme analog overdrive/distortion sounds, and is especially useful for warm luscious pads and organs, and adding depth and realism to acoustic sounds, especially piano. Unlike the previous Tritons, which were white-silver, the Extreme boasts a deep blue color. Like the Triton "Classic" and Studio, the Triton Extreme includes a touch screen interface, along with the usual knobs and buttons. It can use a USB cable to interface with a PC allowing exchange of samples, sound programs, sequences, and other Triton-compatible files through an installable Compact Flash card. CompactFlash and microdrive cards up to 8 GB are supported, negating the need to sample directly to RAM. The USB port also allows control over software synths and host applications over via MIDI. However, unlike the Classic, Studio, and Rack versions, the Extreme can not be fitted with sample expansion boards due to the expansion ROMs having been pre-installed. However, it is compatible with the MOSS board, as is up to 96 MB of sample RAM. Also missing are SCSI and mLAN. Also, the ADAT option was not available, but there were optical stereo S/PDIF ins and outs, although it is impossible to use the Valve Force Tube with them. Also, there is another USB Type A connector, which can be used to connect a USB Hard Drive or a CD-R Drive for making music CD's and loading AKAI format sample libraries.
Triton Extreme

[edit] TR

Released in 2006, the TR is similar to the Triton Le but has expanded ROM and additional programs and combinations. It also uses a USB cable for data connection with a PC. The TR also replaces the SmartMedia card slot found in the Le with an SD card slot. Although it is similar, it is not simply the black Le, which was released as a limited series. Piano sound is really improved.

[edit] X50 and MicroX

Released in 2007, these keyboards are oriented towards the lower end of the market and correspondingly are built lighter, with fewer features. The internals of both are identical: they contain the TR version of the HI engine and a ROM with both the original Triton sound programs and a completely new set, but they have no sequencing or expansion capability. USB connection remains available for data connection, but incompatibilities with the other Tritons hamper use of libraries for those keyboards. The difference between the two keyboards is in scale and control layout: the X50 is a 61-key keyboard, while the MicroX is only 25 keys.

[edit] Features

All models, except the Triton Rack and KARMA, are available in 61, 76 and 88-key configurations. They can also be upgraded with increased sample EDO RAM as well as Triton expansion boards for additional sounds (the Triton Le is the only member of the family that does not provide this feature, and therefore should be considered as the 'closed box'). The Triton "Classic", Extreme, and Studio boasted touch screen capabilities. The KARMA, Le, and Rack, however, used a more conventional display.

HOW TO RECORD BETTER QUALITY AUDIO FOR YOUR VIDEOS TUTORIAL

If your a blogger,music producer, or dj you can have better sounding audio if you use your built in audio soundcard. You can use youtube record from webcam feature to do this if you dont have software that will allow you to select your audio source.

Audio recording is often an afterthought to videographers, but it's just as important to your finished product as the recorded video. Good audio recording takes a little bit of effort, but it's well worth it. Keep these tips in mind for audio recording that is easy to hear and a pleasure to listen to.
1. Use a Quality Microphone

Microphones built in to camcorders are generally low quality. They don't always pick up sound well, and sometimes you'll end up hearing the sound of the camcorder operating.

If possible, use an external microphone whenever you're shooting videos. A lavaliere, or lapel mic, like the type newscasters use, is unobtrusive and especially helpful if you want to hear someone's voice clearly.
2. Monitor the Sound

If you can plug headphones into your camera, do it! They'll allow you to hear exactly what the camera hears, so you'll know if your subject is speaking loudly enough, or if the background noises are too distracting.
3. Limit Background Noises

Background noises can be distracting in a video, and can make for difficult editing. Turn off fans and refrigerators so you don't hear them humming. If there's a window open, close it and shut out the traffic noises.
4. Turn Off the Music

If there's music playing in the background, turn it off. Leaving it on while you're recording will make editing difficult because you can't cut and rearrange clips without hearing the jumps in the music. If you like the music and want it in the video, it's better to add in the recording later on.
More: Adding Music to a Windows Movie Maker Project
5. Record Background Sound

Think about what sounds are distinctive to the event you're recording, and try to capture those on tape. If you're at a carnival, the music of the merry-go-round and the sound of the popcorn popper will really add to the mood of your video and help viewers feel as if they are there with you.

Try to record these sounds clearly, without worrying too much about the video footage. While editing you can move the audio clips around and have them playing underneath different parts of your video.
6. Watch Out For Wind

Recording outdoors on a windy day is difficult because the impact of the wind on the microphone can create loud slapping or popping sounds. You can buy a wind protector for your microphone to cut down on this effect or, in a pinch, slip a fuzzy sock over the mic!
7. Add It Later

Remember, you can always add sound later. If you're recording in a loud area, wait and record narration later when you're in a quieter space. Or you can wait and add sound effects, which are available with many editing programs.

Beat Makers Sampling On Native Instruments Maschine Groove Box

DJ KAY IN THE LAB ONCE AGAIN MAKING A BEAT ON NATIVE INSTRUMENTS MASCHINE

Beat making On Native Instruments Maschine 5

dj kay making a beat on native instruments maschine
NATIVE INSTRUMENTS MASCHINE MUSIC PRODUCTION STUDIO

MASCHINE, Native Instruments' brand new groove production studio is the next milestone in NI history. The unparalleled integration of hardware and software found only in MASCHINE is your launching pad for creating pattern-based music with an incredibly fast and fun workflow.

The first of three whopping announcements from Native Instruments to arrive to Gearwire studio through the old news-pipe was the release of MASCHINE at Winter NAMM 2009. MASCHINE is a modern groove production studio that must be screamed when its name is spoken! Easing and speeding the processes of beat creation and arrangement, MASCHINE dream teams an advanced soft sequencer and sampler with a heavily functional controller, capped off with fluid workflow.

Designed with drum machines and grooveboxes in mind, MASCHINE's step sequencer handles everything from spontaneous beat making to focused multi-timbre arrangements. It combines familiar step sequencer operation with realtime polyphonic recording.

The MASCHINE controller included with the system is almost like a limb of the software program, adding the tactility of real instrumentation. It contains 16 pressure-sensitive drum pads which were built to provide both excellent response and mighty durability. These pads, which illuminate to display visual sequences, are joined by eight rotary encoders, a wealth of buttons and two high-res displays, meaning your computer mouse and keyboard can sit these sessions out. Everything you need to control MASCHINE is right there on the control surface. It's such a nice surface I bet you wish you could control any MIDI compatible music gear with it. Well guess what . . . YOU CAN!

With a high-resolution sample engine under the hood, MASCHINE is a versatile virtual instrument that accurately represents intricate drum kits, percussion loops and multi-sampled polyphonic instruments. Automatic sample mapping, beat slicing and note repeat sweeten the deal. MASCHINE's realtime recording and resampling capabilites let you take any signal, external or internal, and capture, map, sculpt and transform it without interrupting musical flow.

Even if your sound library is a bit slim, MASCHINE will fatten it up with virtual shelves full of drum and instrument sounds that cover a wide range of modern and electronic-dependent styles. There are about 10,000 individual sounds overall, so you've got a lot to work with. A browser that works with categories and concise metadata brings this overwhelming amount of samples to an acceptable level of whelming.

HOW TO RECORD BETTER QUALITY AUDIO FOR YOUR VIDEOS TUTORIAL

If your a blogger,music producer, or dj you can have better sounding audio if you use your built in audio soundcard. You can use youtube record from webcam feature to do this if you dont have software that will allow you to select your audio source.

HOW TO RECORD BETTER QUALITY AUDIO FOR YOUR VIDEOS TUTORIAL

Beat making On Native Instruments Maschine 5

First mashine beat. Not hot but I'm learning