Mouse-free, wallet-friendly groove production is the order of the day as Native Instruments miniaturise their Maschine. Just two years have elapsed since Native Instruments launched their Maschine, and already this partnership of controller and software feels ubiquitous.

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Positioned somewhere between the tactile experience of an Akai MPC and the flexibility offered by Ableton Live, the Maschine arrived stocked with a wealth of original sounds. Yet arguably it was its software's ability to host third-party plug-ins — instruments and effects — that raised it above other self-contained grooveboxes. Not content with resting on their laurels (or indeed any aromatic shrubs), Native Instruments have recently revisited Maschine's hardware to indulge in a spot of careful pruning. The result is a Maschine that's more portable and more affordable: the Maschine Mikro. Both hardware models share the same software, revised and improved since our original 2009 review ().

Despite the size reduction, the Mikro hardware retains much of the original's charm. To a large extent this is due to the 16 highly playable pads, which are responsive to both velocity and aftertouch and tastefully backlit in orange.

Of course you don't drop to the Mikro's price point without losing something. With 100mm of prime panel space shaved off the top, there's no longer room for two large, crystal-clear displays.

Instead, a single display of about half the size (128 x 64 pixels) is present. Download Blur Song 2 320kbpshouse. Inevitably this results in more time spent navigating around, but in most cases the display proves to be no hindrance; it's even able to show (simplified) sample waveforms. For my money it's the Maschine's 11 endless encoders that will be most missed. The Mikro's single rotary leaves it distinctly challenged when it comes to preparing those all-important mid-song tweaks. To better serve the gigging musician, the plastic and metal shell is rigid without being too heavy, and keeping it to the size of a couple of thick magazines does wonders for your bag space. As well as those encoders, some buttons had to go, so in place of the Maschine's blue Group buttons, the Mikro has only one, tasked with transforming eight of the pads into Group selectors.

The final evidence of external pruning is in the Mikro's lack of MIDI ports. All communication is therefore handled via the one connection that is present: a USB 2 socket, which is doggedly determined to hang onto your cables come what may.

If 'tight as a gnat's chuff' is a quality you've longed for in USB connectivity, the Mikro is bound to delight! The Maschine Mikro is missing its elder sibling's dual screens and multiple rotary encoders, but there's still plenty of potential for mouse-free control via its 16 pads and numerous buttons. Having admired the controller, it was time to get to grips with the software, since without it (and your computer and soundcard), Mikro becomes an attractive studio ornament. The software has two components: the Maschine program and the Controller Editor, the latter used to reassign the Mikro's buttons and pads for use with other applications. After a straightforward installation and activation, you are faced with a predominantly dark grey interface relieved by splashes of orange and blue to reflect the look of the hardware. Maschine runs stand-alone or under a DAW host, and to make the best use of available screen space, each of its sections can be folded neatly away.

Various resolutions are provided, so you'll never need to squint. Instead of the conventional track structure of a typical DAW, Maschine's instruments are arranged into Groups.

Up to 16 separate instruments can be placed into each Group and there are eight Groups in total. In principle this is no different to the folders of any DAW, yet in practice it nudges you gently towards new working methods. Similarly, rejecting the more common linear song structure, Maschine favours Scenes.