What's your clips workflow?

Peter Harris

Exporting all your patterns to audio for remixing is a great idea; I had only done it to groups/tracks. Thanks! I'll definitely have to try that.

Is there an export setting that I didn't notice that makes exporting all patterns to audio easy?

And when you say you have templates set up to make it easier, do you mean in your DAW or templates in Maschine?

adic27

https://community.native-instruments.com/discussion/comment/11117#Comment_11117

WOW! I missed this post somehow. Did you figure out what the cause of this behavior came from or get it sorted out?

Cretin Dilettante

https://community.native-instruments.com/discussion/comment/10166#Comment_10166

With all of this said, I've begun writing music that utilizes clips, and would like to share my experiences. Previously, I would do loose arranging in maschine and then tighten things up in Live. However, now that I have the Maschine+, I'm trying to write as much of the foundation of my tracks within one project file so that transferring them over to the standalone takes minimal preparation or adjustment. I think Clips are still an inelegant "bolted-on" solution to the problems inherent in Maschine's sequencing/arranging workflow, but a magical beam of light came down and zapped me when I turned 30, granting me the patience needed to deal with workarounds. If you want polyrhythms/polymeter on the standalone, my (untested) solution is to compose those parts in another DAW, host Maschine as a plugin, and then record the audio/midi back into the arrangement view as one or more giant clips. That unfortunately still leaves the problem of automating BPM. Overall, Clips are just "meh". I still want the sequencer itself to get fixed, but clips has done an okay job of helping me "finish" tracks with Maschine instead of exporting them to another DAW at the 60% mark.

I tend to record 2-3 different chord progressions, bass/lead/melody riffs, drum patterns in ideas view, then I create variations on those ideas that could make the section feel like it has "forward" movement; I make a bunch of scenes for each distinct section, lay them out in the arranger, listen critically until my ears get tired and write down a bunch of notes on some notebook paper. Then I go in and first create variations of my variations to connect sections I think aren't coming together smoothly in the patterns/scene view, and then there's more listening and note-jotting until I imagine even more solutions to these musical problems; I tend to use shorter clips inside of scenes to break up a monotonous repeating motif and longer clips in between scenes to bolt them together.