And don’t forget to check out their iOS apps on the App Store. Peace and blessings to you all.”įor all things MSXII Sound Design, including sample packs, visit. We hope producers worldwide will continue to be inspired by our work and we will always strive to be the most impactful we can. The wavetable is just another way to find textures and bring more unique things out of an instrument within the Play Series.”Īny final thoughts from Mike? “Thank you for the opportunity and we’re grateful to continue to partner with NI. But you can always go all the way back to the original. It gives you an A sound and a B sound, and then you mold them both to create a new sound. When you blend that with a live instrument, you get new cool sounds and that’s what I love about the Play Series. Mike shares a little of the thought process behind this: “You can find certain spots inside the wavetable when you turn the knobs and get to certain sections. Soul Sessions even allows users to blend more traditional samples with this synth-like approach. MSXII also used Kontakt 6’s wavetable features to bring elements of these classic live instruments to the forefront. A lot of times we’re looking for a user to go in and bring the flavor they want to their particular sound.” “This is simply because Soul Sessions focuses more on a live-instrument base, there aren’t synthetic controls on an acoustic piano – you only have a sustain pedal.
Mike shinoda maschine native instruments series#
“In Soul Sessions, the processing is definitely not as heavy-handed we’re not pushing, pushing, pushing the play series instrument to its limits. Lo-Fi Glow patches featured lots of modulation and processing, making the instrument instantly more capable of crazy sound design. Whilst LoFi Glow was focused heavily on recreating the sound of instruments processed and manipulated with vintage gear, Soul Sessions is more about recreating the pure sound of instruments from that time period. “It’s enthralling it’s a timeline across soul music.” Then, as far as the drums in the mid 2000s, it’s just all over the place.“įor Mike, creating Soul Sessions in particular was an opportunity to explore the best sounds from each of these eras and bring them together in one beautifully realised instrument. “Roland Junos, FM synths, electric piano, DX7-type stuff… When you get to the 90s, things get a little bit more clean, but you still have the throwback sounds from yesterday. By the time you get to the 80s, you hear a lot of synthetic instruments,” Mike says. “From the 60s, you get a lot of live instruments, a lot of dirty recordings, in the 70s it gets a little bit better but there’s still a focus on live drums. Inspired by the evolving sounds of soul music from the 60s until the present day, the series traces the progression of the genre as well as the instruments that became defining sounds of its distinct eras. We never tell people, but you should go and reverse engineer a lot of it.”įrom the degraded sounds of vintage gear, to the spirit of retro soul, MSXII quickly followed up the two lo-fi products with the glorious Soul Sessions and Soul Magic. Then if you unmute all of the processing… that’s how you get into our minds and the way we think about making the sounds. If you mute all of the processing, then you’ll hear the sound by itself.
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“If you go through the Expansion’s Maschine Kits, you’ll notice that some sounds are more clean than others, but then we do more processing inside the instrument. “At the end of the day, users still need something that has a quality sound”.Ī certain amount of sonic manipulation is baked into the samples themselves, but lot of the sound design process also happens within Kontakt and Maschine.
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Though low fidelity was the end goal, pristine, high-resolution recordings were essential to the process. Of course you’d get that, but we like to go and explore further!”
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All is fair game for texture with us, not just the obvious cassette-tape noise. When you turn the A/B knob fully to the B side, you’ll hear the noise of the tape machine, me hitting play, rewind, the button presses, and everything. For instance, the sound Writing Session from LoFi Glow is actually us recording our Tascam Portastudio into the mic. “We bought a bunch of cassette players, old Casio keyboards and stuff from RadioShack that we brought into the lab and ran through distortion and saturation pedals.