These are a collection of five dedicated drum and percussion synth plugins (Kick, Snare, Hi-Hat, Tom and Percussion) that draw on a range of sound generation techniques (virtual analogue, physical modeling, etc).Įach synth offers a range of 'engines', which are algorithms designed to deliver a particular kind of sound, each with its own tailored controls. Our favourite new Maschine 2.0 feature is Drumsynths. And speaking of Macros, they can now be assigned targets from the Master, Group and Sound levels, and you can have as many as you like. The same controls can also be enabled for host automation - yes, at last you can freely send automation data from your DAW to limitless parameters within Maschine without the need for Macros. ![]() The biggest MIDI-related change, though, is that you can now assign external MIDI controllers directly to all rotaries and buttons - not just Macros - via the new Assignment area, which puts a MIDI Learn button underneath every viable target in the Control area, including level and pan controls in the mixer. Maschine 2.0 adds quite a bit of extra MIDI functionality, including access to the full list of MIDI CCs for automation envelopes, sending of Program Change messages to plugins, and MIDI file import via the browser/Finder/Explorer. Appearing in the Control area, the Side-Chain Input page lets you choose any Group or Sound as your key input, then adjust the input level and filter frequency. Related to the Mixer (although, oddly, not accessible within it or the Plug-in Strip), sidechaining is fully supported in Maschine 2 for VST/AU plugins and its own Compressor, Limiter, Gate, Filter and Maximizer effects. Combine this with the ability to send each output of a multi- output instrument to any Sound (mixer channel) and Maschine's virtual instrument support feels truly complete at last. Other sources the Cue bus can receive are the metronome and sample pre- listening in the Browser/Sample Editor.Īlso worth mentioning is the newly added multitimbral plugin support, whereby suitably equipped virtual instruments can receive input from multiple Sounds (tracks) on specified MIDI channels. Not quite the DJ-style push-button setup we hoped for, and perhaps it can be moved to a Shift-button operation at some point. It works exactly as advertised, although to get to the Cue On/Off function on your Maschine controller, you have to navigate to the Sound or Group's Output properties page and turn a knob. The full range of Sound and Group setup functions are accessible in the Mixer, including colouring, renaming and plugin loading, and with the Plug-in Strip below it, it has all mix- related bases covered, despite the vast empty space that could drown those who invested in large monitors.Īn interesting Mixer feature for live performers is the new Cue bus, which enables any Sound or Group to be taken out of the mix and routed to the dedicated output of your choice - ie, your headphones - by clicking a button on its channel strip. Maschine 2.0's Mixer (and, indeed, Maschine Studio's Mix mode) gives a traditional mixer-style overview and control of your Group, Sound and Master levels and panning, as well as routing of MIDI and audio within Maschine and to/from the outside world. "Maschine 2.0's Mixer gives a traditional mixer-style overview of your Group, Sound and Master levels and panning" While we're on the subject of visibility, the total separation of Arrange and Mix views is a bit awkward - we'd like to able to view any given combination of Editors and areas at the same time. While the aforementioned Additional view does fill a lot of that space when used, it all feels very empty the rest of the time. The Plug-in Strip does a great job of presenting internal/NI plugin parameters in the one window, although some alternative view options are needed, since on a big monitor, an awful lot of screen space can end up wasted below that resolutely horizontal parade of effects. Third-party plugins just get a standard graphic and preset selector. For example, Massive reveals its Macros, LFOs and envelopes, while Reaktor Prism shows its full Ensemble. There's more on the mixer section below, but the Plug-in Strip simply shows all of the plugins loaded onto the currently selected mixer layer (Master, Group or Sound) as a horizontal list, with interactive "custom panels" for Maschine's internal effects, Sampler and Drumsynths (we'll get onto the latter in due course) and all NI plugins.Ĭertain NI plugins also get an expanded panel in the Strip, called Additional view - some the full GUIs, others reduced versions of them.
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![]() Sales nonwithstanding, the Switch is the most disappointing Nintendo generation for me and I feel like an alien from a foreign planet seeing the regular hype and glowing praise for its games.First released back in 2013 on Wii U, one of the ill-fated platform's greatest games has transitioned across gracefully to Nintendo Switch. I don't know if I can continue buying Nintendo's new consoles after the Switch. I grew up playing the N64, during a Nintendo Dark Age, and I've stuck with Nintendo ever since, even buying their older systems and games from before. I prefer playing my Switch in handheld mode and I don't like using the Pro Controller. It's worth noting that while playing this game, both of my pairs of Joy-Cons have the Drift now. And as the only new content for this duology, it's short and lacks replay value, not giving Wii U players much of a reason to buy this re-release. Even if you forget you have them and die, there's hardly any consequences. You will constantly have more power-ups than you will ever need for each situation. You have five separate power-up slots, one for each power-up, and you can store multiple power-ups. This game continues the modern Nintendo tradition of being toothlessly easy. This makes the game absolutely CHUG and if only that were the worst problem. First off, it features controls and mechanics similar to 3D World, but it's set in a big open world with all the levels connected. This game would not be played by many people had it not been tacked onto a re-release of 3D World, another game not many people played the first time. But wait! There's also a new game, Bowser's Fury! And it's the worst 3D Mario game in existence. Buy it before supplies run out and it gets kicked off of the Switch eShop, leaving you with the mediocre Odyssey and 3D World. Even with all the flak 3D All-Stars got for not being updated and upgraded enough (as they should- they're supposed to be CLASSICS remember), that collection is the best of the 3D Mario cartridges to get on the Switch. It's insubstantial, forgettable, and definitely not worth $60. So inoffensive that it becomes offensive. Even with all the flak 3D All-Stars got for not being updated and upgraded enough (as they should- they're supposed to be CLASSICS remember), that collection is the best of the 3D Mario cartridges to get on The best thing you can say about Super Mario 3D World is that it's inoffensive. The best thing you can say about Super Mario 3D World is that it's inoffensive. It is not worth $60, unless you plan to play with friends, but anything is fun when with friends. The camera doesn't follow Mario, and you can only move it in tiny increments. Bowser's Fury is also really boring, it's an "open world" with terrible camera controls. If you fail, you have to kill yourself to try again. Sometimes you get a green star by completing a challenge in a purple box. All replay value or challenge comes from having to go back and replay levels over and over again, because you don't know where a star is or just to grab the flagpole from the top, since you need to do that to unlock the last world. The levels are mind numbingly easy, and you will see levels being recycled just a couple of hours in. Sometimes you You will be done with 3D World in 2 days. You will be done with 3D World in 2 days. I just hope Nintendo puts more effort for the next one. I thought the game was super cool the first 2 o 3 hours I played, but if you start paying attention, you will see that this game has nothing special. The game is fun, for a while, but the design of the levels feels pretty lazy, the camera is terrible most of the time and they use too many cheap tricks to make you play the level again and again. I just have to take that under consideration when I rate the game. ![]() It's a Wii U game with a DLC sold for 60 dollars, which is already infuriating but it's what Nintendo does, and we keep buying. The game is fun, for a while, but the design of the levels feels pretty lazy, the camera is As a lifelong Nintendo and Super Mario fan, this is pretty disappointing, and sadly, I'm used to it. As a lifelong Nintendo and Super Mario fan, this is pretty disappointing, and sadly, I'm used to it. ![]() ![]() ![]() All music and lyrics are composed by Ferraro. The Promise EP is, as Nina describes, "an adventure of perspective.” Nina performed and recorded all vocals, played guitar, ukulele, piano, and toy piano. Musicians who played on the record include bassist Jonny Flower (Ryan Adams, Colin Hay), multi-instrumentalist Brad Gordon (Ingrid Michaelson, The Weepies), and drummer Michael Jerome of Better Than Ezra. One year later, Nina returned to Los Angeles, this time to record a five-song EP, produced by Will Golden and Al Sgro (producers of Erik Hutchinson, Meiko, and Michelle Branch). The legendary Kenny Aronoff (Bob Dylan, The Rolling Stones, The Smashing Pumpkins) worked with Nina in the studio to record drums/percussion for the single. In the years following, she would go on to perform at venues including Taste of Chicago, SPACE in Evanston, Beat Kitchen, Abbey Pub, Uncommon Ground, and many other venues in Chicago and across the Midwest.Īt 14, Nina recorded and released her first original single, " Let It Go", produced by Wade Norton and Tommy Byrnes (music director for Billy Joel). She began singing and playing acoustically at a local coffee shop in her hometown and the experiences fueled her passion for music. She writes all of her original music independently, and plays several instruments, including guitar, ukulele, and piano.Īt age 11 Nina began exposing audiences to the songs she'd been writing in seclusion for several years. Nina Ferraro is an indie-folk-rock artist based in Chicago. |
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