The solid nature of the pads means that they’re sensitive all the way to the edge, with no floppy corners, and due to the firmness are extremely sensitive. The pads are solid rubber blocks which are very firm and hardly depress at all. General opinion tends to sway towards using Akai’s MPC pad feel as the gold standard by which all others are judged, but rather than ape them, Maschine’s pads feel entirely different. They aren’t however, afraid of giving it their own set of tyres. The 4x4, 16 pad design is now practically as recognised a musical interface as the keyboard to electronic musicians, and NI has wisely decided not to try and reinvent the wheel. But does it have to be one or the other? Native Instruments doesn’t think so- and Maschine is out to prove it.Īt first glance, the Maschine hardware looks familiar. Many forgo the computer for the hardware production unit, embracing its unified nature and workflow advantages and accepting the narrower scope as the lesser of two evils. Whilst software has given users the opportunity to twist, mould and tweak sound with scientific precision, sometimes it all feels a little too scientific. As computers become more and more powerful, and music production and performance tools move increasingly into the software domain, the merit of hardware music equipment is largely its hands on quality.
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