![]() The Note Repeat button (used primarily for playing flams and rolls on the fly) is actually in a slightly better place than on the full size-version it’s below the touch strip so you can hold it down with your index finger and tweak effects with the middle finger of your left hand while you tap out beats with your right. Its pads, which are inspired by the Maschine MK3, are nice and large, so there’s plenty of room for finger drumming. In use, the Mikro MK3 is just as great a tool for sketching out rhythms as its full size equivalent. So, while the Mikro is first and foremost a more portable version of the Maschine for making music on the move, the more streamlined experience may well be more attractive to certain studio users. On the Mikro MK3 there’s none of that, so by necessity you tend to be more focused on what’s often the most difficult part of the process – sketching out a beat. So what does the new Mikro offer besides portability? The answer, is a more focused experience.įor some users (me included) the full-size Maschine MK3’s color screens can be just as distracting as a laptop it’s all too easy to get lost in them tweaking drum synths and effects, slicing up samples or editing notes. ![]() One of my favorite aspects of the full-size MK3 is being able to slice samples and effects from the hardware itself – tasks that are impossible on the Mikro hardware. On the other hand, some users may find themselves squinting to see it properly and it can only be used for a few simple tasks. The Mikro MK3 is much less cluttered and the extra space gained has allowed NI to fit in a touch strip for tweaking effects and performing. ![]() In fact, it’s so small that it can only display two lines of text.Īs a design choice, it makes sense. The Mikro MK3 doesn’t inherit its older sibling’s color screen though. The new Mikro, which is a smaller version of last year’s Maschine MK3, takes a similar approach: it’s only got one knob but keeps the useful buttons for toggling between pad, keyboard and chord modes, as well as variation and duplication. The first Maschine Mikro, released in 2011, reduced the controller to a more portable size by making a few compromises – the dual screens became a single LCD and all the knobs were jettisoned in favor of just one. The core idea – an MPC-style controller hooked up to a software host – hasn’t changed (except on 2016’s sequencer tool, Maschine Jam), but with each successive generation NI has added new features (a touch strip for effects, audio interface, color screens) to make it a more useful studio and performance tool. The new Maschine Mikro, however, is more notable for what it cuts back on – namely screen size. Native Instruments’ beat-making hardware Maschine has undergone a lot of facelifts over the years. Scott Wilson finds out if the new format makes the portable controller more challenging to use. If the problem occurs with a connected MIDI keyboard, simply press one note on the keyboard to solve the issue.Native Instruments’ latest Maschine controller is a refreshed version of its cut-down Mikro model with almost no visible screen. Now you can switch back to normal MASCHINE mode by pressing the appropriate combination of buttons again. Then, send a MIDI message to the software by hitting a pad. MASCHINE JAM: SHIFT + 'HEADPHONES' button.MASCHINE MIKRO MK3: SHIFT + PROJECT button.In order to solve this, switch the MASCHINE Controller to MIDI mode by pressing the following combination of buttons on your device: ![]() ![]() This latency occurs when no MIDI signal has previously been sent to the host sequencer, for example when no MIDI keyboard or similar MIDI device is connected to the computer, and the MASCHINE controller is the only connected hardware. When using MASCHINE as an Audio Unit (AU) plug-in within Logic or Ableton Live, you may notice an exceptionally high latency when you press one of the pads. ![]()
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