MachFive 3 Explained®
Chapter 1 : The Basics
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8:40 Blind Date
Meet MachFive 3. Get to know the four main areas of the plug-in interface and get introduced to the Sidebar, Master Section, Display Area, and Status bar.
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8:14 Stand Alone Setup
See how to configure MachFive 3 in stand alone version to work with multiple output audio interfaces, and multi-port MIDI devices.
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8:35 Lock & Load
Discover the various locations and ways of loading in parts, and managing basic part parameters.
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10:56 Working with the Browser Pt. 1
Learn how to customizes the places in the Browser source list, how to have your soundbank volumes mount automatically on startup, and how to audition loops in sync with your host DAW.
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5:22 Working with the Browser Pt. 2
See how to layer multiple programs together both on a single part, and using multiple parts. Also see how to use the sidebar browser and how the basic file management functions work.
Chapter 2 : Playing the Instruments
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10:55 Star Drums
See how to use the Star Drum's built in Macro and Script controls, and how to route the individual kit elements to discreet outputs within your DAW.
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9:43 J Bass
Explore how to work with the J Bass and its various articulations, slap, and legato mode options.
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10:46 The Upright & F Grand 278
Learn how the macro controls on these two instrument are used to both subtly, or not so subtly, influence the performance aspects of each.
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13:18 Telematic Pt. 1
Discover some of the ways the Telematic voices and strums chords in guitar like manner, and how to control various aspects of the performance through use of it's scripted macro controls.
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8:44 Telematic Pt. 2
See how the mixed and keyboard playing modes work, and how the sequence mode is used to create a repeated strumming pattern that is stopped and started with the note F# 4.
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10:19 Importing 3rd Party Formats
Watch as instruments and samples are imported and saved from sounds originating in Kontakt, Apple Loop, SampleCell, EXS 24, Giga, and Akai formats.
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7:41 Working in the Mixer View
Learn how to use the Mixer View to work with both part and program effects, aux channels, pre and post fader sends, and master output processing.
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4:06 Using Multiple Outputs
Discover how to route individual parts to discreet outputs accessible from within your DAW, and how to simultaneously utilize Mach Five's internal aux send effects on a discreet channel strip within the host DAW.
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9:09 Working in Performance View
See how splits and layers are created based either on note or velocity ranges, and how key switches are easily set up to switch between different parts from a single keyboard controller in real time.
Chapter 3 : Editing
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8:50 Basic Editing Architecture Pt. 1
Learn how and where the various elements that comprise each program are laid out in the MachFive 3 interface.
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12:05 Basic Editing Architecture Pt. 2
Discover how Keygroup, Layer, and Program settings in the Edit Window work and how they influence the sound at various stages within a program.
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12:40 Working in the Mapping Editor
The Mapping Editor is where you manage how keygroups are mapped to MIDI notes. Watch as multiple samples are imported and mapped based either on pitch, velocity, or chromatically.
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8:56 Working with Keygroups
Watch as a new program is constructed using multiple sample based oscillators and multiple keygroups, keygroup based effects and key range crossfades.
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8:20 Layers & Layer Rules
Learn how to create and work with programs containing multiple layers, layer rules, and layer based FX.
Chapter 4 : The Oscillators
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6:58 Oscillator Basics
Learn how to create, load, and save various types of oscillators, presets, and settings.
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9:35 Synth Oscillators Pt. 1
Explre how MachFive's analog, analog stack, and noise generators are used, modified, modulated, and filtered; to create classic subtractive synthesis style sounds.
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9:25 Synth Oscillators Pt. 2
Watch how the FM, Wavetable, Drum, and Organ oscillators work, and how easy it is to tweak, shape, and control sounds in original ways.
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8:39 Working with Sample Oscillators
Learn how to use the Oscillator Section to crop, reverse, and loop audio samples.
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4:17 Crossfades & Looped Release
See how to apply crossfades to loop points for smooth looping, and how loop release effects.
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4:31 The Stretch Oscillator
Stretch uses granular synthesis, a way of chopping audio up into grains based on grain size and transient sensitivity. When audio is then triggered at different pitches, the grains are rearranged and stretched to preserve the original tempo, or can be modified with tempo parameters so the grains are played back faster or slower. It is an excellent sound design tool. It is also great for changing the color and personality of drum loops when triggered at different pitches.
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9:29 The Loop Lab Pt. 1
Explore Slice mode and see how it's used to maintain a constant tempo while triggering loops at various pitches. Learn how to tweak and edit the slice detection, as well as play back with various trigger and sync mode combinations.
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7:37 The Loop Lab Pt. 2
See how Latch mode is used to generate cool and interesting poly rhythms, and how the envelope settings are used to effect the amplitude of each slice. And finally, learn how to convert the slices to chromatically mapped key groups, and export all as either audio or MIDI.
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8:02 IRCAM Granular
Explore the rich granular style sound design possibilities introduced with this oscillator type by shaping and modulating grain size, speed, direction, position, pitch, density, and more.
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6:40 IRCAM Stretch
See how to use this oscillator type for the highest quality time stretching and pitch shifting, with emphasis on transient, shape, envelope, and phase preservation.
Chapter 5 : Modulation and Processing
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3:53 Envelopes
Discover how to use a sound's envelope controls to shape the variations the sound exhibits over time.
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7:37 Working with Modulation
Explore how some of the external modulation sources are used to modulate filter and pan values through with use of performance gestures like velocity, mod wheel and key range.
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5:57 Using LFOs
Discover how LFOs are used to modulate destination parameters based on a variety of cyclical shapes that can be synced to tempo.
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9:42 Modulation Envelopes
Learn how to use MachFive's four envelope types to create and apply multi-stage modulation patterns to destination modulation targets.
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5:25 Mappers
Explore how mappers are used to create custom step like patterns that shape the modulation source before it reaches its destination parameter.
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9:25 Macros & MIDI Learn
See how Macros are used to map multiple parameters across different parameters to a single macro knob, and then assign Mod Wheel to control the macro knob using MIDI Learn.
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7:21 Working with Effects
Explore the various access points throughout the interface that effects and aux sends can be managed from.
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8:29 Event Processors
Event processors intercept incoming MIDI and process the notes before they reach the sound producing oscillators or samples being triggered. Learn where and how to access and modify some of the existing presets.
Product Overview
This super in-depth series by DAW master Eli Krantzberg covers one of the most powerful studio virtual samplers ever made, the MOTU MachFive 3. Eli covers every MachFive 3 feature and function, as well as important tips & tricks during your unforgettable ride with MachFive 3.
Eli starts off with the basics such as detailed overviews, how to use MachFive 3 in standalone mode, loading parts and presets and how to use its eloquent browser. He then shows you how to play MachFive 3's amazing factory instruments, import 3rd party libraries, use the mixer, multiple outputs and performance view. Eli then goes deep into how to edit and build sounds, how to utilize the awesome MachFive 3 synth engine options, modulation, effect processing and so much more.
If you're flying MOTU's MachFive 3 sampler, don't fly blind... Get "MachFive 3 Explained" today and break though the sound barrier.
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Reviews
Submitted 3 months ago
Somewhat useful
I was really expecting more and a specific type of help that neither this video course nor the MachFive 3 manual explains. This video course goes into some other, interesting, but somewhat obscure uses for MachFive 3 which, eventually, might be useful to me, but there are some basic aspects to the program which neither MOTU nor Groove 3 seem interested in covering as topics or explaining. MachFive 3 Explained DID teach me some other ways to get around in the program, so it has been useful for that. This is one scenario for me: I have stereo samples in Kurzweil K2xxx format that have been transferred into MachFive 3. MachFive 3 does a wonderful job of loading the samples and with a little more prodding from me, using MachFive 3's Browser Editor, I can get it to map the samples exactly as they were laid out in a K2000R. I have noticed that most of the stereo samples appear as one sample with one name in MachFive 3's Sample Editor, but when they are viewed in the Browser, they appear as two samples per key (a right and left sample). Some samples, probably depending on how I saved the program in the Kurzweil, did not load as stereo samples, even though there are separate left and right components to each sample. There is no mention in either MachFive 3's manual nor MachFive 3 Explained which cover this topic, although it would seem like it should be. It's possible, in different instances for a stereo sample's left or right component may not properly load into a program and yet the data for it is there. I wish that MachFive 3 Explained would address this situation because, it appears, the only way I'm going to find out how to assign independent left/right stereo component samples into a proper pair is to keep on experimenting. I have to assume that I assign each 1/2 of a component stereo pair of samples to different stereo paired keygroups and different stereo paired layers for them to "sound" in stereo but in doing this, I still don't know if when I play these samples from a MIDI keyboard, if they will appear in the sample editor as one stereo sample, and can be edited as a single stereo sample. To me, this seems like a basic function of what MachFive 3 SHOULD be capable of, but to get any information on this basic aspect of sample importation and editing, there's no help, either in the MachFive 3 manual nor in Mach Five 3 Explained. I can't seem to find any other helpful information about these matters on the Web, either. It would be nice if someone wrote an independent comprehensive manual about MachFive 3, because so far, it seems to me as if the manual is not very detailed and forthcoming and there seems to be no other way to learn some of the more basic aspects of this program than by trial and error.
I am a: Professional, Musician, Digital Performer
Ease of Use Quality of Videos Value of Training Access to Videos
Submitted 3 years ago
Great review
Very helpful and explanatory...
I am a: Semi-Pro, Musician, Digital Performer, Logic Pro
Ease of Use Quality of Videos Value of Training Access to Videos
Reviews
Submitted 3 months ago
Somewhat useful
I was really expecting more and a specific type of help that neither this video course nor the MachFive 3 manual explains. This video course goes into some other, interesting, but somewhat obscure uses for MachFive 3 which, eventually, might be useful to me, but there are some basic aspects to the program which neither MOTU nor Groove 3 seem interested in covering as topics or explaining. MachFive 3 Explained DID teach me some other ways to get around in the program, so it has been useful for that. This is one scenario for me: I have stereo samples in Kurzweil K2xxx format that have been transferred into MachFive 3. MachFive 3 does a wonderful job of loading the samples and with a little more prodding from me, using MachFive 3's Browser Editor, I can get it to map the samples exactly as they were laid out in a K2000R. I have noticed that most of the stereo samples appear as one sample with one name in MachFive 3's Sample Editor, but when they are viewed in the Browser, they appear as two samples per key (a right and left sample). Some samples, probably depending on how I saved the program in the Kurzweil, did not load as stereo samples, even though there are separate left and right components to each sample. There is no mention in either MachFive 3's manual nor MachFive 3 Explained which cover this topic, although it would seem like it should be. It's possible, in different instances for a stereo sample's left or right component may not properly load into a program and yet the data for it is there. I wish that MachFive 3 Explained would address this situation because, it appears, the only way I'm going to find out how to assign independent left/right stereo component samples into a proper pair is to keep on experimenting. I have to assume that I assign each 1/2 of a component stereo pair of samples to different stereo paired keygroups and different stereo paired layers for them to "sound" in stereo but in doing this, I still don't know if when I play these samples from a MIDI keyboard, if they will appear in the sample editor as one stereo sample, and can be edited as a single stereo sample. To me, this seems like a basic function of what MachFive 3 SHOULD be capable of, but to get any information on this basic aspect of sample importation and editing, there's no help, either in the MachFive 3 manual nor in Mach Five 3 Explained. I can't seem to find any other helpful information about these matters on the Web, either. It would be nice if someone wrote an independent comprehensive manual about MachFive 3, because so far, it seems to me as if the manual is not very detailed and forthcoming and there seems to be no other way to learn some of the more basic aspects of this program than by trial and error.
I am a: Professional, Musician, Digital Performer
Submitted 3 years ago
Great review
Very helpful and explanatory...
I am a: Semi-Pro, Musician, Digital Performer, Logic Pro
1. When did you start dabbling in music?
I started playing drums in high school at age fourteen. Like most kids my age around then, I was into progressive rock. Genesis, Emerson Lake and Palmer, and Yes. They rocked my world. A few short years later though, my musical life changed. While studying music in college I discovered Charlie Parker, Milt Jackson, Sonny Stitt, and John Coltrane. Milt Jackson spoke to me in such a profound way that it left me no choice but to take up vibraphone.
These great players, along with drummers like Philly Joe Jones, Max Roach, Art Blakey, and Elvin Jones changed not only the way I thought about drumming, but also music - and by extension, life - as a whole. I realized life was meant to be a creative endeavor. The idea of improvising based on a loose set of guidelines and rules permeated into my psyche even when I wasn't holding a pair of drumsticks or mallets. But if I am going to be perfectly truthful, I have to hold Henry Miller and Woody Allen equally responsible for shaping the way I view and experience the world around me.
2. What training have you had?
I am currently an Apple certified Logic Pro. Young and cocky, and armed with only a partial University degree, I dropped out of school and began playing steady commercial hotel engagements and jazz gigs when I could. This went on for many years until I decided it was time to complete my degree - which I ultimately did with a major in Political Science and a minor in music.
It was at this point that I formed my current band Nightshift. We are going in to our twenty third year now - playing commercial one nighters like weddings, corporate events, etc. Don't turn your nose up at it though - it has allowed me a wonderful quality of life. It gave me the freedom to go back to school and complete a post graduate degree in Communications Studies - all the while supporting myself by playing weddings.
3. When did you get into recording?
It was in this graduate program - in the early nineties - that I found myself drawn to the fledgling emerging universe of hard disc recording and midi sequencing. Based on nothing more than the recommendation of one of my band mates who had an old Atari, I jumped in head first and bought a Mac LC ll, along with a version 1.1 of what was then Notator Logic. I had no idea what I was getting myself into. But, in hindsight, it was a decision of epic importance in my life - shaping my future as much as the music of Milt Jackson and Charlie Parker did fifteen years prior.
I opened up my own commercial home studio in 1998 and began doing a variety of projects, working on radio jingles, artist CD projects, and whatever came my way. A couple of years later a colleague called me up - desperate. He was working at a post production house and one of the editors had just quit. They were doing audio post for a weekly TV series and needed a Pro Tools editor - and fast! And so, once again, I jumped in head first into what would ultimately open up my world even more - the world of Pro Tools.
4. People you have worked with/for?
Focusing on Logic, I built up a small but loyal client base and my phone kept ringing for Logic tech support and instruction. Film composers and studio owners all over the city were calling me. Even the music stores were giving out my phone number at this point! This kind of stuff becomes a self fulfilling prophecy. The more of it you do, the more calls you get to keep doing it. At least that's the way it should be!
As my Logic chops kept growing, I was hired by an old buddy of mine, Len Sasso, who was then an associate editor at Electronic Musician magazine, and began writing some columns for them. I had a blast doing them - and really learned to focus and express my thoughts in a concise and clear manner. This lead to a collaboration with LA based composer Terry Michael Huud on the 2006 film called Civic Duty - which was certainly one of the highlights of my professional life as a composer.
5. Why are you so good at training people?
I wake up every day excited to boot up, and create. Whether it's instructional videos, creating music, working with a studio client, performing with my band, or teaching at the schools - my days are filled with what I love doing. Enriched by the stimulation and creative freedom this modern music making software brings to my life. I bring that excitement and passion to each and every training product I create. My years of experience both using and teaching these programs has taught me the best way to make the user comfortable with these complex programs.
Products by Eli
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tutorial videoAAS Chromaphone Explained
Eli Krantzberg returns, this time showing you the incredible AAS Chromaphone creative percussive synthesizer. This synth is capable of creating incredibly expressive drum, percussion, string, and synth-like instruments, so hold the phone and check it out!
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tutorial videoAAS Strum GS-2 Explained
In this FREE series commissioned by Applied Acoustic Systems, Eli Krantzberg covers the expansive performance library of electric and acoustic guitar strumming inside and out, and shows you how to make Strum GS-2 your new favorite session guitarist!
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tutorial videoAirEQ Explained
Eli Krantzberg returns with an in-depth series on the amazing AirEQ by Eiosis, which was designed with a vision of achieving musical, technical and sonic excellence in equalization. This just might become your to go-to EQ!
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tutorial videoAlchemy 2 Explained
Logic Pro X 10.2 integrated Alchemy 2, one of the most powerful virtual instruments ever made. In this three-hour video training tutorial series, Eli Krantzberg teaches you how to become a Alchemy wizard and unleash all of its power on your music!
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tutorial videoAmple Sound Super Jumbo Explained
Eli Krantzberg presents a detailed series of Super Jumbo tutorials! Learn Super Jumbo, Ample Sounds’s incredibly realistic virtual acoustic guitar instrument inside and out, as well as how to use it creatively.
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