The DMC60 drum machine
for modern Macs.

Drop a break in.
Chop it four ways.

Hit pads to the beat and DMC60 drops slice points in real-time — non-destructive, marker-only, the sample stays whole. Or let the onset detector watch spectral flux and mark every transient. Or divide by count. Or place them by hand. Slices land on pads with a shared mute group, ready to play.

Point at a folder.
Get a kit.

Building a sample kit by hand is the slowest part of every drum machine. DMC60 ends it. Hand it a folder of WAV / AIFF / FLAC files and it builds a finished .dmcpgm program — pads filled, banks laid out, ready to play. Hand it a sample library and it builds the entire library, in batch, in a single pass.

No other plugin sampler does this. What used to be an afternoon of dragging files into slots is now a click.

Any sample becomes
an instrument.

Keygroup programs stretch a sample chromatically across the full 128-note MIDI range — concert pitch, whole keyboard, not just 16 pads. Behind it sits a real synth voice: three tempo-syncable LFOs with delay and fade-in, two assignable mod envelopes, and a 16-slot modulation matrix routing velocity, aftertouch, mod wheel, key-track, and random to pitch, filter, amp, pan, and beyond.

Stack up to 7 detuned unison voices with stereo width, glide between notes with legato, and pick your oscillator flavor — Clean (anti-aliased) or Vintage (naive, 12-bit crushed). A factory preset catalog covers basses, leads, pads, keys, plucks, and FX.

Patterns become
arrangements.

Song mode is a list, not a maze. Add a pattern, set how many times it repeats, drop in tempo and mix moves between rows, and loop any region while you tweak. Build a full arrangement in the time it takes to remember which bar you were on.

A console,
not just faders.

Every track gets a 6-band EQ — high-pass, two shelves, two mids, low-pass, switchable pre or post fader — and the master runs through a Glue-style compressor with auto-gain and a real gain-reduction needle. Eight send buses carry a tempo-synced delay and a plate reverb, with per-track send bars right above the faders.

The mixer expands to full window height with DAW-style fader scaling, and every pattern still recalls its own complete mix.

Plays nicely with
the controller you love.

Plug in any class-compliant MIDI controller. Pads trigger voices, knobs and faders address volume, pan, tune, ADSR, filter, drive, master and tempo over a fixed CC map on Channel 4. Aftertouch is wired through. No mapping screen, no JSON files.

Arturia MiniLab 3 gets first-class macros: 8 knobs and 4 faders drive the synth engine on keygroup tracks or the selected pad on sample kits — and the on-screen controls follow your hands in real time. Hot-plug detection brings any controller online mid-session, and a built-in MIDI monitor shows every incoming note and CC.

In a DAW, a Host Sync toggle lets DMC60 follow the host transport — play, stop, position, tempo — or run its own clock independently.