User Guide English Manual Version 2.
Table of Contents Introduction ............................................................ 6 Basic Concepts ..................................................... 25 System Requirements & Product Support ..... 6 Tutorial ................................................................... 26 About This User Guide ..................................... 6 Important Notes ................................................ 7 Starting Up ....................................................... 26 Setup ..........
Operation .............................................................. 52 Time Counter/Locate ................................... 77 General Features............................................. 53 Timing Correct (TC) ...................................... 79 Control Types .............................................. 53 Metronome (Click/Metro) ............................. 81 Knobs ............................................................. 53 Parameter Values ...................................
Modes............................................................. 105 List Edit Mode ............................................ 230 Main Mode ................................................. 106 Browser ...................................................... 234 Sequence Section ......................................... 111 Track Section ................................................ 119 Program Section ........................................... 128 Grid View .....................................
Next Sequence Mode ................................ 272 Song Mode ................................................ 274 Addenda ............................................................... 325 Updates in MPC 2.1 ....................................... 325 Q-Link Edit Mode....................................... 277 Project .......................................................... 279 Program/Audio Track .................................... 281 Pad Scene ..................................................
Introduction Thank you for purchasing your MPC. At Akai Professional, we know how serious music is to you. That’s why we design our equipment with only one thing in mind—to make your performance the best it can be. This user guide explains how to create music using MPC X, MPC Live, and MPC Touch. There is similar documentation available for MPC products that use an LCD and for the MPC software application.
Important Notes Read the included safety & warranty manual before using your MPC hardware. Before getting started and connecting devices to your MPC hardware or turning the hardware on/off, make sure all devices are switched off. To use your MPC hardware in Controller Mode (to control the MPC software): Before installing the MPC software, make sure your computer meets the system requirements described at akaipro.com.
Remember to remove the protective film from your MPC hardware touchscreen! To use your MPC hardware in Standalone Mode, just connect it to a power outlet using the included power adapter, and power it on! Note: We highly recommend checking akaipro.com for any available updates to the MPC software/firmware and/or drivers. To use your MPC hardware in Controller Mode, continue to Step 2. Installation. 2.
Features This chapter explains the features and functions of each MPC model with a touchscreen: MPC X, MPC Live, and MPC Touch. MPC X Top Panel 1 55 11 13 14 32 33 28 29 30 31 55 47 48 44 44 45 46 45 51 52 49 50 53 54 16 17 18 19 20 21 23 24 25 26 27 42 6 12 3 8 43 4 5 22 9 10 2 7 15 39 41 40 37 38 36 34 35 Navigation & Data Entry Controls 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC X’s current operation.
3. Data Dial: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. 4. –/+: Press these buttons to increase or decrease the value of the selected field on the screen. 5. Numeric Keypad: If the selected field on the screen is a number, press these numbered buttons as you would on a standard numeric keypad to enter a value. Press the keypad’s Enter to enter it.
16. Project: Press this button to use the Q-Link knobs to adjust parameters related to the current project. Press and hold Shift and then press this button to enter the Project Q-Link Edit Mode directly. See Operation > Modes > Q-Link Edit Mode > Project to learn about this. 17. Program: Press this button to use the Q-Link knobs to adjust parameters of the currently selected program or audio track. Press and hold Shift and then press this button to enter the Program Q-Link Edit Mode directly.
32. Track Mute/Pad Mute: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track. Press and hold Shift and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program. 33. Next Seq/Song: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads.
I/O & Level Controls 44. Gain 1/2: Use these knobs to adjust the gain of the incoming signal from Input 1/2 on the rear panel or Inst 1/2 on the front panel. Use the Rear/Front switches below the knobs to determine the input. Use the level meter to check the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort. 45.
Touchscreen Here is some general information about how to use the MPC X touchscreen: x2 Tap a button or option to select it. Use the data dial or –/+ buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the data dial or –/+ buttons). Tap the upper-left part of the screen to return to the previous view.
Front Panel 1 2 3 4 5 6 1. SD Card Slot: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X. 2. Footswitch Inputs (FS 1/2) (1/4” / 6.35 mm): Connect optional 1/4” (6.35 mm) TS footswitches to these inputs. 3. Instrument Inputs (Inst 1/2) (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TS cables to connect these inputs to audio sources (guitars, bass, etc.).
Rear Panel 9 14 2 6 7 8 11 10 13 12 5 4 1 3 1. Power Input: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a power outlet in order for MPC X to power on. 2. Power Adapter Restraint: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging. 3. Power Switch: Press this button to turn MPC X’s power on or off. While powered on, press and hold this button for 5 seconds to force MPC X to power off (similar to a computer).
MPC Live Top Panel 6 7 6 8 6 9 6 4 10 3 3 1 5 11 12 13 14 15 16 3 3 2 22 20 21 19 17 18 16 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Live’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later Touchscreen section to learn how to use some basic functions. 2.
8. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64). 9. 16 Level: Press this button to activate/deactivate 16 Level.
Touchscreen Here is some general information about how to use the MPC Live touchscreen: x2 Tap a button or option to select it. Use the data dial or –/+ buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the data dial or –/+ buttons). Tap the upper-left part of the screen to return to the previous view.
Rear Panel 6 17 12 13 13 13 8 14 10 9 7 11 16 3 15 5 4 1 2 1. Power Input: Use the included power adapter to connect MPC Live to a power outlet. 2. Power Switch: Turns MPC Live’s power on/off. 3. Charging Indicator: This light (behind the vent) will turn on when MPC Live’s internal battery is charging (when the power input is connected to a power outlet). When the battery is fully charged or when it is disconnected from a power outlet, then this light will turn off. 4.
MPC Touch Top Panel 7 8 7 9 7 10 7 5 11 4 1 4 2 4 6 12 13 14 15 16 17 4 3 23 21 22 20 18 19 17 1. Touchscreen: This full-color multi-touch display shows information relevant to MPC Touch’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later Touchscreen section to learn how to use some basic functions. 2. Display Brightness +/–: Use these buttons to increase/decrease the brightness of the touchscreen. 3.
9. Full Level/Half Level: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (127), regardless of how much force you use. Press and hold Shift and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (64). 10. 16 Level: Press this button to activate/deactivate 16 Level.
Touchscreen Here is some general information about how to use the MPC Touch touchscreen: x2 Tap a button or option to select it. Use the data dial or –/+ buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the data dial or –/+ buttons). Tap the upper-left part of the screen to return to the previous view.
Rear Panel 2 1 3 4 8 6 7 9 5 10 11 1. Power Input: Use the included power adapter to connect MPC Touch to a power outlet. Alternatively, you can power MPC Touch via the USB port only, but the touchscreen will be disabled. 2. Power Switch: Turns MPC Touch’s power on/off. 3. USB Port: Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Touch to send/receive MIDI and audio data to/from the MPC software.
Basic Concepts This chapter should help explain some fundamental aspects of the MPC universe. The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each track uses an instance of each instrument, and all tracks are always playing even if they don’t contain any audio or MIDI information. Furthermore, your entire project needs to be arranged just as the resulting song would be.
Tutorial This chapter should familiarize you with some basic MPC features. We’ll create a short song to illustrate some of the most important features. To get the most out of this chapter, we recommend reproducing each of the described steps. Starting Up Make sure you have completed all of the steps described in Introduction > Setup. This includes: • Installing the most current drivers and software.
To load a selected file, double-tap it, tap Load, or press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch). If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project). To load all files in a folder, select the folder (so it is highlighted in the list), press and hold Shift, and then tap Load All in the lower-right corner.
Creating a Drum Sequence Now that your drum kit is set up, let’s record a drum sequence. 1. Press Menu to enter the Menu, and then tap Grid View. 2. Press Tap repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate and adjust itself automatically. 3. Press the Rec button to record-arm the sequence. 4. Press the Play button to start the actual recording. You will hear the count-in for one measure before the recording starts.
Saving & Renaming We recommend doing some renaming of your programs and samples before going further. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it. Let’s rename the exisiting program as we’ll want to create more programs later on. To rename a program: 1. Press Main to enter Main Mode. 2.
Now would be a good time to save your project. To save your project, press Menu to show the Menu, and tap the disk icon at the top of the screen to open the Save window. Alternatively, press Shift+Browse/Save (MPC X). In the Save window, do any of the following: To select the storage device you want to view, tap it in the Storage column on the left. Internal is the internal drive of MPC X or MPC Live. MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live.
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter the Grid View, press Menu, and then tap Grid View. In the Grid View, you can do any of the following: To zoom in or out, tap the magnifying-glass icon in the upper-right corner. Then, in the grid, spread two fingers apart or pinch two fingers together. You can do this for each axis, horizontal or vertical.
To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See Operation > General Features > Timing Correct (TC) to learn about this. To adjust the velocity of the selected notes, tap Velocity at the bottom of the screen, and then use the data dial or –/+ buttons. The numeric value will appear on the screen. To show or hide the velocity lane, tap the up arrow (∧) button in the lower-right corner of the screen to show the velocity lane below the grid.
Making Basic Sound Edits Let’s make sure the samples are properly tuned and have good levels. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X). Press a pad to show its parameters on the screen. To adjust its volume, tap and drag the Volume knob up or down. Alternatively, use the data dial or –/+ buttons. To make finer adjustments, double-tap the knob and adjust the larger version that appears. Tap anywhere else to return to the previous screen.
The snare drum may need some reverb to give it a more spatial sound. Tap Effects at bottom of the screen to view the Insert Effects tab. Press the pad with your snare drum sound to select it. To add an effect: 1. Double-tap the desired slot. A list of effects will appear. 2. Swipe up or down to move through the list. 3. To load an effect, double-tap it. Alternatively, tap it once and then tap Select or push the data dial. Let’s try Reverb Medium. 4. To close the list, tap Close.
Creating a Bass Track Let’s try recording a bass line. Unlike a drum kit, it’s important to be able to play and record a bass sound chromatically, so this will be slightly different than setting up the drum kit. Adding a bass line over the drum part means we need to work on a new track. A track is simply a layer of a sequence. Each track uses a program within your project. You can work with multiple tracks in a single sequence (e.g., a drum track, a bass track, a piano track, etc.).
To load and edit a bass sound: 1. Press Browse (MPC X) or Shift+Menu/Browse (MPC Live, MPC Touch) to show the Browser. Then, use the touchscreen to navigate to where your bass sounds are located, and load one to the project’s sample pool. (You can look at this earlier section if you forgot how to do this!) 2. After loading a bass sample to the sample pool, don’t use the Sample Assign tab like you did when creating a drum program; keygroup programs are different.
Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can edit your recording just like we’ve done earlier. Once you’ve recorded it, let’s tweak the sound a bit in the Filter section: 1. In Program Edit Mode, tap the Filter/Env tab to show its parameters. 2. Double-tap the Type drop-down menu, and select a filter. Let’s try working with Lowpass 4 Pole. 3.
Recording an Audio Track We’ve already created some MIDI tracks, so let’s record some actual audio for our next track: 1. Press Main to go back to Main Mode. 2. Tap the Audio tab at the bottom of the screen. Audio 001 will appear in the Track field. 3. If the channel strip is not already shown on the left side of the screen, tap Input Config (in the lower part of the screen) or the small eye icon (in the upper-left part of the screen) to show it. 4.
Creating a Song This section explains how to make a song out of your sequences. Before starting, make sure that you have recorded some sequences (which we described earlier). To enter Song Mode, make sure playback is stopped, and then press Menu, and then tap Song to enter Song Mode. Alternatively, press Song (MPC X). In Song Mode, each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads, showing the song’s structure.
Exporting the Song Want to share your new song? Just export it first. To export a song: 1. While in Song Mode, tap Export at the bottom of the screen. 2. In the Audio Mixdown screen that appears, do the following: • Make sure the Start field is set to 1, and set the End field to the last bar of your song. • Tap the Audio Tail field and turn the data dial to set it to 2 seconds. • As you’ll likely share the song online, tap the mp3 file format option in the lower-left corner. 3. Tap Export.
Other Features Explained This chapter describes various advanced features. For a fuller explanation of these features, please refer to their corresponding sections in the Operation chapter. Step Sequencer You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step Sequencer by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. To enter the Step Sequencer, press Menu, and then tap Step Sequencer.
Drum Loops & Chop Mode Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains how to use Sample Edit Mode to work with drum loops. Use the Browser to locate a drum loop, and then double-tap it to add it to the current program. The loop does not have to match the tempo of anything in the project. To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X). 1.
Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We can also automatically create corresponding note events to play back these slices sequentially. 1. Press and hold Shift and then tap Convert at the bottom of the screen to enter the Convert or Assign Slices window. 2. Tap the Convert To field, and then use the data dial or –/+ buttons to select New Program with New Samples. 3. Make sure Crop Samples is checked. If it is not, tap it. 4.
Pad Muting & Track Muting Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds like without those samples or parts. To enter Pad Mute Mode, press Menu, and then tap Pad Mute to enter Pad Mute Mode. Alternatively, press Shift+Track Mute/Pad Mute (MPC X). 1. Press Play to play the sequence. 2. Tap the Program field at the top of the screen, and then use the data dial or –/+ buttons to select your drum program.
You can also mute entire tracks by using the similar Track Mute function. To enter Track Mute Mode, press Menu, and then tap Track Mute to enter Track Mute Mode. Alternatively, press Track Mute (MPC X). 1. Press Play to play the sequence. 2. Tap the Sequence field at the top of the screen, and then use the data dial or –/+ buttons to select the desired sequence. Alternatively, double-tap the Sequence field, and then tap a sequence to select it. 3. Each pad is assigned to a track.
Sampling (Recording) This section describes recording new samples of your own, which you can use in your projects. Important: To record any audio, you need to connect an audio source to your MPC hardware or to your computer’s audio interface. To open the Sampler, press Menu, and then tap Sampler to enter Sampler Mode. Alternatively, press Sampler (MPC X). 1. Connect an audio source to the input/inputs of your MPC hardware. 2.
In the Keep or Discard Sample window: To name the new sample, tap the Edit Name field and use the virtual keyboard to enter a name. To assign the new sample to a program, tap the Program field, and then use the data dial or –/+ buttons to select the desired program. Alternatively, double-tap the Program field, and then tap a program to select it. To assign the sample to a pad in the program, tap the Assign to Pad field, and then press the desired pad.
Sample Editing You may need to edit your newly recorded samples using Sample Edit Mode. To enter Sample Edit Mode, press Menu, and then tap Sample Edit to enter Sample Edit Mode. Alternatively, press Sample Edit (MPC X). In Sample Edit Mode: To switch between Trim Mode and Chop Mode, tap the Trim/Chop tab at the bottom of the screen. In this example, use Trim Mode.
Let’s apply some processing to the sample. To open the Process Sample window, tap Process at the bottom of the screen. 1. Use the data dial or –/+ buttons to select the desired process in the Function field. Alternatively, tap Function or double-tap the Function field, and then tap the desired process. Let’s select Pitch Shift to change the overall pitch of your sample. This will transpose the sample without affecting its length. 2.
Recording Automation with the XY Pad Automating various parameters is a good way to add some motion and dynamism to your sequences. 1. Press Menu, and then tap XYFX to enter XYFX Mode. Alternatively, press XYFX (MPC X). 2. Double-tap the XYFX Location field, and select Program. 3. When you first enter this mode in a project, you will be prompted to “load” XYFX to the program. Tap Insert XYFX to do this. 4. Tap Setup to show the Setup panel, which controls how the XY pad behaves. 5.
Using MPC X or MPC Live as a Controller If you are using the MPC software on your computer, you can switch MPC X or MPC Live into Controller Mode, allowing you to use it to control the software. MPC Touch already operates as a controller only. The MPC software offers the same features and functionality as the MPC hardware in Standalone Mode but with some notable differences, which are discussed in Operation > General Features > Standalone vs. Controller Mode.
Operation This chapter explains the complete features and functions of your MPC hardware. Important: • When accessing the secondary functions of buttons on your MPC hardware, you can do this one of two ways: (1) pressing and holding Shift and then pressing the desired button or (2) double-pressing the desired button. This manual describes these operations using only the first option, but both are acceptable.
General Features Control Types The MPC touchscreen uses the following types of control elements: Knobs To set the value for a knob, do any of the following: • Tap and drag the knob up or down. • Tap the knob to select it, and then use the data dial or –/+ buttons to adjust the value. • Double-tap the knob to show it in a larger screen. Alternatively, press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) when the knob is selected.
Drop-Down Menus / Lists To select an option for a drop-down menu, do any of the following: • Tap the field to select it, and then use the data dial or –/+ buttons to select an option. • Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the data dial or the –/+ buttons to select an option. In some windows, tap the relevant button at the bottom of the screen to confirm your selection or to cancel without changing anything.
Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states. To switch between or cycle through a button’s states, do either of the following: • Tap it. • If it is outlined in red (and is not a mute button), use the data dial or –/+ buttons. Checkboxes Checkboxes have two states: checked and unchecked (enabled or disabled, respectively). To check or uncheck a checkbox, tap it.
Envelopes To set the stages of an envelope, do either of the following: Tip: Tap the expand-rectangle icon above the envelope to show a closeup view. • Tap and drag a “handle” of an envelope stage in the desired direction. • Set the numeric value of an envelope stage by adjusting or entering it as a parameter value (described earlier). The Filter/Envelope tab in Program Edit Mode. Closeup of an AD-type filter envelope. Closeup of an AHDS-type amp envelope.
Grid View Tools In the Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it. To move a note, tap and drag it to another grid square. To erase a note, double-tap it. Eraser: Erase Mode: To erase a note, tap it. Select Box: Select Mode: Note: Notes will remain selected if you switch to another mode.
Audio Edit Tools In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform. Tap one to select its mode: Marquee: Marquee Mode: To select a track region, tap the upper third of it. To move a track region (or multiple selected track regions), tap and drag the upper third of it left or right.
Programs About Programs Each track you create within a sequence is routed through a program. There are six types of programs, each of which determines how the track sounds or what it is used for. A single project can hold up to 128 programs. This chapter covers how to create each program type. To learn about editing your programs to your preference, see the Modes > Program Edit Mode chapter. A drum program uses one or more samples as its sound source.
Drum Programs A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for creating drum parts and quickly and easily assigning samples to pads. To create a drum program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the four-squares icon, which indicates a drum program. 3.
Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways: 1. Press Menu, and then tap Program Edit to enter Program Edit Mode. Alternatively, press Prog Edit (MPC X). 2. Tap the Samples tab. This lets you view the samples assigned to all four layers of the current pad as well as tuning and level parameters for each layer. 3. Tap a pad to select it (and play its assigned samples, if any). The pad will be lit green. 4.
Keygroup Programs A keygroup program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads. To create a keygroup program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the piano-keys icon, which indicates a keygroup program. 3.
Clip Programs A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can press to trigger the clip according to a quantization setting. This lets you create intriguing, layered performances by launching different combinations of clips together. By default, the 16 pads are divided into four columns of four pads. Each column represents a mute group; when a pad is playing a clip, all other pads in that same mute group are turned off.
To load a clip into a clip program: 1. Press Main to enter Main Mode. 2. Tap Edit Clips to view the pads and clip settings. 3. Press or tap a pad to select it (and play its assigned samples, if any). The pad on the screen will be lit red, and its number will appear in the Pad field. 4. Tap the Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-tap the Sample field, and then tap a clip to select it.
Plugin Programs A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. This lets you use the same instance of a plugin with multiple tracks (rather than load an instance of a plugin on every track, which can be cumbersome and CPU-intensive). Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. To create a plugin program: 1. Press Main to enter Main Mode. 2.
MIDI Programs A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine. To create a MIDI program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the MIDI-jack icon, which indicates a MIDI program. 3. If the project does not contain a MIDI program yet, a new MIDI program (named Midi, appended with a number) will be added automatically to the project and appear in the Program field below.
CV Programs A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum machine that uses CV. To create a CV program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the CV icon, which indicates a CV program. 3. If the project does not contain a CV program yet, a new CV program (named CV, appended with a number) will be added automatically to the project and appear in the Program field below.
Menu The Menu lets you select any of the 21 modes or save your project. On MPC X or MPC Live, you can also use it to set your preferences, switch between Standalone Mode and Controller Mode, or view your system resources. To open the Menu, press Menu, or tap the icon in the upper-left corner of the screen while on the normal page of your current mode. When viewing the Menu, do any of the following: To enter a mode, tap it.
Save To save the project, tap the disk icon at the top of the screen. Alternatively, press Shift+Browse/Save (MPC X). If you have already saved the project, your changes will be saved. If you have not saved the project yet, use the Save window to save the project: To select the storage device you want to view, tap it in the Storage column on the left. Internal is the internal drive of MPC X or MPC Live. MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live.
Preferences To open the Preferences, tap the gear icon at the top of the screen. To return to the Menu, tap the icon in the upper-left corner. Changes to the Preferences are saved automatically except for Vintage Mode (in the General tab) and Start Time (in the Sync tab). To restore your MPC hardware’s default settings, tap Reset. In the screen that appears, tap OK to continue or Cancel to return to the Preferences.
Truncate Duration: This determines if/how events are cropped if they exceed the length of the current Sequence: To Sequence Length: If the length of an event exceeds the length of the sequence, it will be truncated. This ensures that the event will not overlap itself when the sequence loops. To Sequence End: If an event exceeds the length of the sequence, it will be truncated to the end of the current sequence. In other words, the event will stop playing when the sequence ends or loops.
Screen Dimming: This determines how much time must pass before your MPC hardware automatically dims its touchscreen (if if it uses a battery, this can help preserve battery life). Screen Brightness: This determines the brightness of the screen during normal operation: normal brightness (Day) or dimmed (Night). Power On Screen (MPC Live only): This determines if/when a special screen will appear when you power on your MPC Live.
Project Load/Save The settings on this screen determine if (and how) projects are automatically saved. If you are using MPC hardware as a controller, you can also define files to load automatically. Auto Load File: Use this field to select a project (.xpj) or program (.xpm) to load automatically anytime you open the MPC software. (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.
Audio Track Auto Warp: This determines how recorded audio track regions are warped. When set to On, any audio track region that you record will be warped automatically to match the current sequence tempo. You can then adjust the sequence tempo while the audio track region remains in time. Note: When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project.
Wi-Fi The settings on this screen will determine how your MPC hardware’s wireless connection works, so you can use Ableton Link, a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. These settings are available only for MPC X and MPC Live when used in Standalone Mode. To activate or deactivate wireless connectivity on your MPC hardware, tap the On/Off selector.
System Resources Tap one of these icons to show the System Resources window for MPC X or MPC Live. The indicators in this window show current usage statistics: Battery: If you are using MPC Live powered by its internal battery, the first indicator shows the current battery life as a percentage. (See Battery Usage to learn more about MPC Live’s internal battery.) CPU: The CPU indicator shows the current CPU as a percentage. RAM Usage: The Mem indicator shows your MPC hardware’s current RAM usage.
Time Counter/Locate In most of the available modes, there is a time counter at the top of the screen. This indicates the current playhead position. To adjust the position, tap it, and then use the use the data dial or the –/+ buttons. To open the Locate screen and adjust its settings, double-tap the time counter. To close the Locate screen, tap the X in the upper-right corner or anywhere outside the window. To move forward or backward a step, tap the Step < or Step > button, respectively.
You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence. You can set up to six time markers. To set a time marker, tap the time counter at the top of the screen, find the desired time, and then tap Set next to the desired time marker. The time will appear next to that marker. To jump to a time marker, tap the number next to it (1–6).
Timing Correct (TC) The Timing Correct window contains various settings to help quantize the events in your sequence. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks). To open the Timing Correct settings: In Main Mode or List Edit Mode: Tap the TC/clock icon at the top of the screen. In the Grid View: Press and hold Shift and tap TC at the bottom of the screen.
Use the Time Division selector to set the quantization value. Events will “snap” to these time divisions on the grid. The T indicates a triplet-based value. Alternatively, press and hold Note Repeat while in Main Mode, and then use the six buttons at the bottom of the screen. Use the Swing field to set the amount of swing from 50% to 75%. Swing lets you “shuffle” your beats—from subtle to extreme. Use the Shift Timing field to shift all events by clock ticks.
Metronome (Click/Metro) The Click/Metro window contains all settings regarding the metronome (click track). To open the metronome settings: In Main Mode or List Edit Mode: Tap the Metro/metronome icon at the top of the screen. In the Grid View: Press and hold Shift and tap Click at the bottom of the screen. In the Track View: Tap Click at the bottom of the screen. Tap the Metro/metronome icon at the top of the screen. Use the Count-In field to set if/when the metronome counts before recording.
Automation You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can do this globally or for individual programs and audio tracks. Global In several modes, there is a button in the upper-right corner that controls the global automation. When you tap this button to change its state, it will change the automation state for all programs in the project.
16 Level Press the 16 Level button on your MPC hardware to activate or deactivate 16 Level. When first activated, the selected pad (Pad A01 by default) will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of how hard you press them.
Erase The Erase function erases all or part of a track in a specific sequence. To open the Erase window, press the Erase button. Alternatively, while in Main Mode, tap the pencil icon on the right edge of the section, and then tap Erase in the screen that appears. To select the sequence you want to erase, use the Sequence field. To select the track you want to erase within the sequence, use the Track field. To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields.
Effects You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and master outputs, using insert and send/return effects. This chapter can help you get a good overall understanding of how the effects work. See Appendix > Effects & Parameters for a list of all available effects (with a brief description of each) and their editable parameters. Overview In a program, each pad or keygroup can have up to four insert effects applied to it.
To view, load, edit, or clear effects, tap the area under the Inserts field. This usually appears in a channel strip (next to a level slider and pan knob). When viewing loaded effects, you will see this window: To select an effect, use the field for each insert slot. A window (described below) will appear. To edit the parameters of a loaded effect, tap the pencil icon next to the insert slot. To clear the insert slot, tap the trash can icon next to it.
Insert Effects Pads You can load up to four insert effects to each pad. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Tip: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply unique combinations of effects to each pad within a program. If you want to apply the same effect to all pads, do this with a program insert effect (see Insert Effects > Programs). To load a pad insert effect in Main Mode: 1.
To load a pad insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2. Press the desired pad to select it, or tap it on the screen. Alternatively, double-tap the Pad field below the Program field. 3. Tap the area under Inserts, and then use the screen that appears to load or edit effects.
Keygroups You can load up to four insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well. To load a keygroup insert effect in Main Mode: 1.
To load a keygroup insert effect in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program. Alternatively, use the Track field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2. Press a pad to select its corresponding keygroup, or tap it on the screen. Alternatively, use the Keygroup field below the Program field. Important: Remember that the effect will be applied to that keygroup only. 3.
Audio Tracks You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer. To load an audio track insert effect in Main Mode: 1. When the Audio tab is selected (in the lower-left corner), use the Track field to select the audio track. 2. If the channel strip is not already shown, tap the small eye icon below the Project field to show it. 3. Tap the waveform icon at the top of the channel strip.
Programs You can load up to four insert effects to each program. You can do this in Main Mode, XYFX Mode, and the Channel Mixer. Note: In XYFX Mode, the effects act like a single insert effect on that program. In fact, XYFX is the name of the insert effect that is loaded when use this mode. To load a program insert effect in Main Mode: 1.
To load XYFX for a program in XYFX Mode: 1. Select the desired program in another mode, and then enter XYFX Mode. 2. If you have not yet used XYFX Mode for this program, tap Insert XYFX on the screen to load it and show the XY pad. Note: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this. If you have already used XYFX Mode for this program, the XY pad will appear. 3. Tap XYFX Location in the upper-left corner, and select Program. 4.
Submixes You can load up to four insert effects to each submix. You can do this in the Channel Mixer only. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To load a submix insert effect: 1. Use the Mixer field in the upper-left corner to select Submixes. 2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Submix field below the Mixer field and tap the desired program.
Masters You can load up to four insert effects to each master output (a stereo pair of channels: Outputs 1/2, Outputs 3/4, etc.). You can do this in Main Mode or the Channel Mixer. To load a master insert effect in Main Mode: 1. If the channel strip is not already shown, tap the small eye icon below the Project field to show it. 2. Tap the crown icon at the top of the channel strip. The channel strip will now show settings for the current master output. 3.
Send/Return Effects Send/return effects work in the following way: 1. A pad, keygroup, audio track, program, or submix sends its audio to a return at a designated send level. 2. That audio is processed by the effects on the return. Each return can have up to four insert effects loaded and activated. 3. The processed audio is sent to a pair of master outputs (stereo) or a single master output (mono). You can load send/return effects and set return levels only in the Channel Mixer, described below.
Pads You can set the send levels for pads in Program Edit Mode or the Pad Mixer. To set the send levels for a pad in Program Edit Mode: 1. While editing the desired program in Program Edit Mode, press the desired pad to select it. 2. Tap the Effects tab in the lower-right corner. 3. Use the Send knobs to set the send level for each return. To set the send levels for a pad in the Pad Mixer: 1. Use the Program field at the top of the screen to select the desired program.
Keygroups You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer. To set the send levels for a keygroup in Program Edit Mode: 1. While using the desired program, press the desired pad to select its keygroup. Alternatively, use the Keygroup field at the top of the screen. 2. Tap the Effects tab in the lower-right corner. 3. Use the Send knobs to set the send level for each return. To set the send levels for a keygroup in the Pad Mixer: 1.
Audio Tracks You can set the send levels for audio tracks in the Channel Mixer only. To set the send levels for an audio track: 1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Audio Tracks. 2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level). 3. In the touchscreen, tap the pad that corresponds to the desired audio track. Alternatively, double-tap the Audio Track field below the Mixer field. 4.
Submixes You can set the send levels for submixes in the Channel Mixer only. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To set the send levels for a submix: 1. In the Channel Mixer, use the Mixer field in the upper-left corner to select Submixes. 2. Tap the Send tab at the bottom of the screen (tap it multiple times to select a different send level). 3.
Audio Mixdown The Audio Mixdown screen lets you render and export either the current sequence or song as an audio file. In Song Mode, this will export the entire song. In Main Mode, this will export the current sequence only. To open the Audio Mixdown screen in Song Mode, tap Export at the bottom edge of the screen. To open the Audio Mixdown screen in Main Mode, tap the Project field in the upper-left corner of the screen, and then tap Export.
File Formats Tap WAV, AIFF, or MP3 to select the file format of the mixdown. For WAV and AIFF files, use the Bit Depth field to select a bit depth of 8, 16, or 24 bits, or 32 bits, floating point (32 F). For MP3 files, you can select a Bitrate of 128, 160, 192, or 320 kbps. Use the Sample Rate field to select a sample rate of 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. In most cases, we recommend selecting 44.1 kHz.
Standalone vs. Controller Mode MPC X and MPC Live can function in two ways: Standalone Mode and Controller Mode. (MPC Touch already operates as a controller only.) To enter Standalone Mode, do one of the following: • If MPC X or MPC Live is not connected to a computer, simply press the power switch to power it on. • If MPC X or MPC Live is connected to your computer and you want to keep your MPC software open, press Menu to enter the Menu, and then tap the monitor/cable icon in the upper-right corner.
To enter Controller Mode: 1. Make sure the USB-B Port on your MPC X or MPC Live is connected to your computer. 2. On your computer, open the MPC software. 3. If MPC X or MPC Live is powered off, press the power switch to power it on. 4. If MPC X or MPC Live is currently in Standalone Mode, press Menu to enter the Menu, and then tap the MPC chip icon in the upper-right corner. When the Enter Controller Mode window appears, tap Controller Mode to continue.
Modes The MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter. Note: The Menu above is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View.
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, do one of the following: • Press Main. • Press Menu, and then tap Main. The top of the screen shows the project name and timing information. The Project field shows the name of the current project. To view the Project window, tap the Project field. The Project window will appear, showing a list of available programs, sequences, and samples in the project.
The In and Out boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or to your computer. The time counter at the top of the screen the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this. The TC icon opens the Timing Correct window, which contains various settings to help quantize the note events in your sequence. See General Features > Timing Correct (TC) to learn about this.
On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip. To show or hide the channel strip, tap the eye icon. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the current pad, program, track, or master output, depending on the currently selected icon: To view the pad channel strip, tap the single-pad icon.
When viewing the program channel strip while using a drum program, keygroup program, clip program, or plugin program: The first field shows the current program number and name (which you can change). The second field shows where the program is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone Mode, Out 1,2–31,32 or Out 1–32 in Controller Mode. You can also select a submix (Sub 1–8) in Controller Mode. Note: When set to a mono channel, the left and right channels are summed post-pan knob.
When viewing the track channel strip while using an audio track: The first field defines the input source of the external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode). The second field shows where the track is routed, which you can change: Out 1,2–7,8 or Out 1–8 in Standalone Mode, Out 1,2–31,32 or Out 1–32 in Controller Mode.
Sequence Section The Sequence section shows the current sequence and its information. Use Sequence field to select a sequence. To edit the name of the sequence, tap the cursor icon on the right edge of the section, and use the virtual keyboard that appears. Use the BPM field to adjust the tempo of the sequence. To set whether the sequence follows its own tempo (Sequence) or a master tempo (Master), tap the Sequence/Master button under the BPM field. Alternatively, press and hold Shift+Tap.
To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open. You can use any of these functions as described below, though there are fewer options for audio tracks than for MIDI tracks. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press Main. To edit the name of the sequence, tap the top of the screen and use the virtual keyboard that appears.
The Erase function erases all or part of a track in a specific sequence. To select the sequence you want to erase, use the Sequence field. To select the track you want to erase within the sequence, use the Track field. To set the time range of the sequence you want to erase, use the Bar, Beat, and Tick fields. The left fields set the start of the time range, and the right fields set the end of the time range.
The Transpose function transposes a range of events on a track in a sequence. The events within that range will shift accordingly in the Grid View. This option is available for MIDI tracks only. To select the sequence you want to transpose, use the Sequence field. To select the track you want to transpose within the sequence, use the Track field. To set the time range of the sequence you want to transpose, use the two sets of Bar, Beat, and Tick fields.
The Delete Bars function removes a range of bars from a sequence. To select the sequence whose bars you want to delete, use the Sequence field. To set the range of bars you want to delete, use the First Bar and Last Bar fields. The bar in each field and all bars in between them will be deleted. To confirm your choice, tap Do It. To return to the previous screen, tap Back or anywhere outside the window. To cancel and return to Main Mode, tap Cancel.
The Copy Sequence function copies the contents of one sequence to another. To select the “source” sequence, use the Copy Contents of Sequence field. This is the sequence whose events you want to copy. To select the “destination” sequence, use the Over Contents of Sequence field. This is the sequence where the source sequence will be copied. To confirm your choice, tap Do It. To return to the previous screen, tap Back or anywhere outside the window. To cancel and return to Main Mode, tap Cancel.
The Copy Events function copies a range of events or selected audio track regions from a sequence and adds them to another at a specified point. To select the “source” sequence, use the From Sequence field. This is the sequence whose content you want to copy. To select the “source” track, use the From Track field. This is the track whose content you want to copy. To set the time range of the events or the audio track you want to copy, use the Bar, Beat, and Tick fields.
The Save Current Sequence function saves the current sequence to an external storage device or the internal drive of MPC X or MPC Live. To select the storage device you want to view, tap it in the Storage column on the left. Internal is the internal drive of MPC X or MPC Live. MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live.
Track Section The Track section shows the current track, program type, and its information. The Track section while using a MIDI track. The Track section while using an audio track. The Track field shows the track number and its name. To edit the name of the track, tap the cursor icon on the right edge of the section and use the virtual keyboard that appears. While using a MIDI track: The program selector indicates the type of program through which the track is being routed.
While using an audio track: Tap the Record Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. Tip: You can select multiple tracks in the Track View by pressing and holding Shift while tapping the Arm button to each track. Use the Monitor button to set how your audio track will be monitored. Tapping it will cycle through its three states: When set to Auto, you will hear incoming audio while the track is record-enabled only.
The Clear function erases all events from the track and resets all of its settings. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel. The Explode function immediately splits the current track into multiple tracks—one for each distinct pad or note (pitch, not event). The current track also remains present and intact, while each track created from it is labeled with the track name and pad name or number.
The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events. To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Time checkbox. To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount (Pulses) slider. To set how dramatically the humanization effect is applied to the timing, use the Eagerness slider.
The Generate Random Events function creates random melodic or drum patterns on the current MIDI track. To select the type of events you want to create, use the Event Type field to select Drum Events or Melodic Events. To select how the events will be created relative to the existing events on the track, use the Replace field: Replace All Events: Select this option to replace all events on the track with the randomly generated ones.
If Event Type is set to Melodic Events: To define a specific note range over which the events will be generated, use the Start Note or End Note fields. To enable or disable legato, tap the Legato checkbox. When on, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point. Each note event will sustain until another note event starts.
The Bounce to Audio Track function immediately renders the track (for the current sequence only) as an audio track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be named Audio and appended with a number (e.g., Audio 002). This function does not work for tracks that use MIDI programs or CV programs. If you have already used this function on this track, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
While using audio tracks, you can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press Main. To edit the name of the track, tap the top of the screen and use the virtual keyboard that appears. The Delete function erases the entire audio track. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel.
The Copy Track function copies the contents of one track to another. To select the “source” track, tap the Copy Contents of Track field. This is the track whose events you want to copy. To select the “destination” track, tap the Over Contents of Track field. This is the track where the source track will be copied. To confirm your choice, tap Do It. To cancel and return to Main Mode, tap Cancel or anywhere outside the window.
Program Section The Program section shows the current program. This section will appear differently depending on the type of program selected in the Track section above it. For all program types while using MIDI tracks, you can do the following: To edit the name of the program, tap the cursor icon on the right edge of the section. Use the virtual keyboard that appears to enter a new name, and then tap Do It. To create a new program of the currently selected type, tap the + icon.
While viewing plugin programs, the Plugin Program field shows the name of the program. Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. Use the Plugin field to select the plugin the program is using. In the screen that appears, you can tap the Type or Manufacturer button at the bottom of the screen to enable or disable sorting of your plugins by type or maker.
To edit the program, tap the pencil icon on the right edge of the section. The Program Edit/Copy window will open. You can use any of these functions as described below. To return to Main Mode, tap Cancel or the left arrow () in the upper-left corner of the screen. Alternatively, press Main. To edit the name of the program, tap the top of the screen and use the virtual keyboard that appears. The Delete function erases all events from the track and resets all of its settings.
The Duplicate to Track function immediately creates an identical program on a new track. The duplicate program will use the same name but appended with a number (e.g., Program 002). The new track will be named Track and appended with a number (e.g., Track 06). The Bounce to Sample function immediately renders all tracks that use that program (for the current sequence only) as an audio sample and places it in the project’s sample pool.
The Save Current Program or Save Current Sample function saves the current program or sample (the top layer of the last pad you pressed) (respectively) to an external storage device or the internal drive of MPC X or MPC Live. To select the storage device you want to view, tap it in the Storage column on the left. Internal is the internal drive of MPC X or MPC Live. MPC Documents is a shortcut to the MPC Documents folder on the internal drive of MPC X or MPC Live.
Grid View The Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs. For drum programs, the left column shows you all available pads in a vertical view with their corresponding data. For keygroup programs, plugin programs, and MIDI programs, the left column shows a vertical “piano roll” keyboard.
In the Grid View, these four tool icons enable you to use different functions in the grid. Tap one to select its mode: Pencil: Draw Mode: To enter a note in an empty grid square, tap the grid square. To select a note, tap it. To move a note, tap and drag it to another grid square. To erase a note, double-tap it. Eraser: Erase Mode: To erase a note, tap it. Select Box: Select Mode: Note: Notes will remain selected if you switch to another mode.
The Settings window lets you configure certain Grid View settings. To view the Settings, tap the gear icon. Use the Snap Mode selector to set how events “snap” to the grid. Absolute: Events will “snap” to the nearest time division on the grid (as determined by the TC field or Time Correct window). This is the typical and traditional method of using the snap/quantization feature.
Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes. To automatically set the grid to view one pad bank and two bars, tap the grid-and-magnifying-glass icon in the lower-left corner. To undo your last action, press Undo. To redo the last action you undid, press Shift+Undo/Redo. To select all notes for a pad, press the desired pad.
To open the Timing Correct window, press and hold Shift, and then tap TC at the bottom of the screen. See General Features > Timing Correct (TC) to learn about this. To select a time division directly, double-tap the down arrow () in the upper-left corner of the grid and select a time division. To adjust the metronome settings, press and hold Shift, and then tap Click at the bottom of the screen. See General Features > Metronome (Click/Metro) to learn about this.
Audio Edit Mode Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project. To enter Audio Edit Mode, press Menu, and then tap Audio Edit Mode. Note: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is selected, it will show an icon for Grid View instead of Audio Edit Mode. To select an audio track (and enable Audio Edit Mode), press Main to enter Main Mode, and then tap Audio in the lower-left corner.
Below is a brief step-by-step process so you can get started recording audio tracks quickly. Continue reading the rest of this chapter to learn how to use Audio Edit Mode in different cases. To record in Audio Edit Mode (or Main Mode): 1. If the channel strip is not already shown on the left side of the screen, tap the small eye icon to show it. 2. Connect a synthesizer or other line-level audio source to the appropriate input/inputs of your MPC hardware. Set the Line/Phono selector appropriately, too. 3.
The top of the screen shows the track name, sequence and timing information, and editing tools. Use the Track field to select which track of the current sequence you want to show in the grid. Use the Bars field to set the length of the sequence. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.
Scissors: Split Mode: To split the track at a specific point (creating a track region on either side), tap that point in the track. To select a track region, tap its left-most edge. To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them. Mute: Mute Mode: To select multiple track regions, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip. To show or hide the channel strip, tap the eye icon. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the audio track or master output, depending on the currently selected icon: To view the track channel strip, tap the waveform icon. To view the master channel strip, tap the crown icon.
Tap the track automation button or press Read/Write (MPC X) to cycle through its three states: When off, the audio track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while pressing or tapping the button.
Regardless of which tool is selected, you can do any of the following to edit the selected audio track regions. Tip: If you want to hear only the audio track while editing, use the Solo button in the track channel strip to solo it. To select a track region, tap the arrow icon to enter Selection Mode and tap a track region. When a track region is selected, all region parameters will be available to edit. To undo your last action, press Undo. To redo the last action you undid, press Shift+Undo/Redo.
To reverse the selected track region, tap Reverse. To mute the selected track region, tap Mute. To lengthen or shorten the selected track region without changing its pitch, tap Warp, which will enable the Semi, Fine, and BPM fields next to it. Use the BPM field to change the tempo, which will change the length of the track region accordingly. Use the Semi and Fine fields if you want to change the pitch (this is useful for matching the durations of two samples with different pitches).
Track View Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences simultaneously. To enter the Track View, do either of the following: • Press Shift+Main/Track. • Press Menu, and then tap Track View. Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together. MIDI tracks are listed first, audio tracks are listed second. To move through the list of tracks, swipe up or down.
The Settings window lets you configure certain Track View settings. To view the Settings, tap the gear icon. Use the Show Unused Tracks selector to turn this feature on or off. When on, tracks with a sequence, program, etc. will still appear in the Track View. When off, only tracks with a sequence, program, etc. will appear. To open the Timing Correct settings, tap TC at the bottom of the screen. See General Features > Timing Correct (TC) to learn about this.
MIDI Tracks All MIDI tracks in the project are grouped together in the upper half of the Track View. To show or hide them, tap the or arrow icon. Use the Program field to select the program that the track will use. Use the Length field to set how long the track is. If you select the minimum value, Seq or 0 (if you use the numeric keypad), the track will be the exact same length as its sequence. Tip: This feature lets you maintain tracks of different lengths.
Audio Tracks All audio tracks in the project are grouped together in the lower half of the Track View. To show or hide them, tap the or arrow icon. Use the Input field to set the track’s input/inputs. Use the Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. You can select multiple tracks by pressing and holding Shift while tapping the Arm button to each track. Use the Monitor button to set how your audio track will be monitored.
Step Sequencer The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. This is available for MIDI tracks only, not audio tracks. To enter the Step Sequencer, do either of the following: • Press Menu, and then tap Step Sequencer. • Press Step Seq (MPC X). The top of the screen shows the track name and information as well as sequence and timing information.
Use the BPM field to adjust the tempo of the sequence. To set whether the sequence follows its own tempo (Seq) or a master tempo (Mst), tap the Seq/Mst button next to the BPM field. Alternatively, press Shift+Tap/Master. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.
To adjust the velocities of the steps, do any of the following: • Tap anywhere on the velocity bar of a step. The top of the velocity bar will jump to that point. • Use the slider on the right edge of the screen to increase or decrease the velocities of all steps. • Turn the Q-Link knob that corresponds to that step (the Q-Link knobs must be in the Screen edit mode). Setting a value of 0 (Off) will delete the step.
The third button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • Across the entire bar, the velocities will ascend to a peak and then descend from it. • In each half of the bar, the velocities will ascend to a peak and then descend from it. • In each quarter of the bar, the velocities will ascend to a peak and then descend from it.
XYFX Mode XYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move your finger on the XY pad, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks. The effect you control in XYFX Mode acts like an insert effect on that program. In fact, XYFX is the name of the insert effect you have to load to the program before you can use this mode.
Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up. Each axis is labeled with its assigned parameter. When an effect has a beat division parameter, the current division will be highlighted as an entire column.
XY Mode with a manually controlled effect. Use the Attack knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch. Use the Release knob to set the length of the release phase of the envelope, which is triggered when you release the XY pad. In other words, this determines how long it takes the effect to fully deactivate after you stopping touching the XY pad.
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. To enter Sample Edit Mode, do either of the following: • Press Menu, and then tap Sample Edit. • Press Sample Edit (MPC X). To select a sample to edit, do any of the following: • Use the Sample field at the top of the screen. • In Main Mode, tap the Project field at the top of the screen, and then double-tap a sample in the list on the right side.
The upper half of the screen shows the waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in Samples, Time (in seconds and milliseconds), or Beats. You can select the measurement units you want to show in the Settings.
Settings The Settings window lets you configure certain Sample Edit Mode settings. To view the Settings, tap the gear icon. Use the Cue Play Mode selector to set how the cue playhead will play audio. One Shot: Tapping Play Cue will play the entire sample from the cue playhead. Toggle: Tapping Play Cue once will start playback from cue playhead. Tapping it once more will stop playback. Use the Cue Preview selector to set if any audio plays as you move the cue playhead.
Trim Mode We recommend using Trim Mode to crop the start and/or ends from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. Use the Start and End fields to set the position of the start point and end point of the sample (respectively). Alternatively, tap and drag the start (S) or end (E) marker left or right, or use the first column of Q-Link knobs (Start X1__) to adjust the start point or the second column of Q-Link knobs (End X1__) to adjust the end point.
Use your MPC hardware pads to play certain parts of the selected sample: Play Loop 13 Play to Loop Start 14 Play from Loop Start 15 16 Play Sample Play Sample (One Shot) (Note On) Play All 09 Play Loop Continuous No function 10 11 12 Play from Start Play to Start Play to End Play from End (Note On) (Note On) (Note On) (Note On) 05 06 07 08 Play from Start Play to Start Play to End Play from End (One Shot) (One Shot) (One Shot) (One Shot) 01 02 03 04 Play Sample (On
Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close the window. The sample is now tuned to the sequence. To tune the sample to the sequence and adjust the sequence tempo, tap To Sequence.
Use the Root Note field to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup program. To select a slice to edit, do either of the following (after you have created slices in Chop Mode): • Use the Slice field. • Turn Q-Link Knob 16 (Select Slice on MPC X) or the fourth Q-Link knob in the fourth column (MPC Live, MPC Touch).
Assigning Samples You can assign your new sample directly to a pad from Trim Mode. To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.
If you set the Assign To field to Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) Use the Pad field to select the desired pad. Alternatively, press the desired pad. Check the Crop Sample box to delete the unused parts from the sample when it’s created and assigned. This feature is destructive, though the project will still contain your original sample.
Processing Slices & Samples Tap the Process button to open the Process window, where you can select an editing option for the sample. Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to open the Function window, which displays an overview of all available editing processes. You can use any of these functions as described below. To return to Sample Edit Mode, tap Cancel. To return to the Process window, tap the top of the screen.
The Delete process deletes the region between the start point and end point and closes the gap between them. The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample in your current project. Use the Edit Name field (and the virtual keyboard that appears) to name the new sample.
The Reverse process reverses the region between the start point and end point. The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end. Exp fades the audio in with an exponential curve— slowly rising in the beginning and growing steeper towards the end.
The Time Stretch process lengthens or shortens the sample without changing its pitch. This is useful for matching the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired tempo after processing. Use the Beat field to set the desired value number of beats. Use the New Tempo field to set the new tempo. The Ratio field will then automatically show the time stretch factor.
The Bit Reduce process lowers the bit resolution of a sample, effectively reducing its degree of faithful reproduction. You can reduce it down to 1 bit. (The sound is similar to the Resampler effect, but Bit Reduce will permanently alter the sample.) Tip: Use this on drum loops to get a dirty, “old-school” sizzle but with a digital “edge.” Note: This process affects the entire sample regardless of its start point or end point.
Chop Mode Whereas Trim Mode crops only the start and/or end off of a sample, Chop Mode divides the sample into multiple regions called slices. We recommend using Chop Mode when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage). To enter Chop Mode, tap the Trim/Chop button in the lower-left corner so it says Chop.
To play a slice, do either of the following: • Press the pad that corresponds to the slice. If your sample has more than 16 slices, use the additional pad banks. • When the headphones icon (in the upper-right corner) is selected, tap a slice in the waveform. When the One Shot feature is enabled, you can press a pad once to play the entire slice. When this is disabled, pressing the pad and holding it will play the slice; releasing it will stop playback.
When Link Slices is enabled, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable Link Slices if you are trying to create slices that use non-contiguous parts of the sample. To enable or disable this feature, tap the Link Slices button. Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.
Converting or Assigning Slices You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase. To convert or assign a sample, press and hold Shift, and then tap Convert at the bottom of the screen to open the Convert or Assign Slices window. If you set the Convert To field to New [program type] program using slices, this will create a new program and assign the sample’s slices to its pads.
If you set the Convert To field to New clip program, this will create a new clip program and assign the sample’s slices to its pads as clips. The pads will simply refer to the slices in this sample instead of creating new samples. This is useful for reducing clutter in your project. The new program will be named after the sample and appended with ch. Use the Tempo field to enter the tempo of the clips in the new program.
If you set the Convert To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. Use the Pad field to select the desired pad. Alternatively, press the desired pad.
If you set the Convert To field to Patched phrase, this will create a new sample that will play based on the tempo of your Sequence, and places it in the current project. The patched phrase will have the same name as the original sample but appended with pp and will use a different icon when viewing your project information. Use the Bars field to set how many bars long the patched phrase is meant to be.
The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use separately in the project. The Normalize process increases a sample’s level to the highest level possible without distortion.
The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end. Exp fades the audio in with an exponential curve— slowly rising in the beginning and growing steeper towards the end. The Fade Out process sets a fade-out between the start point and end point.
Program Mode Program Mode lets you edit a sample in the context of the program in which you’ll use it. You can adjust the pad parameters as though you were in Program Edit Mode, auditioning and hearing how it will sound in the program’s audio path. To enter Program Mode, tap the Program button at the bottom of the screen. The pads will show their assigned samples in the current Program. Use the Start and End fields to set the position of the start point and end point of the sample (respectively).
Tap each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display for editing. Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence. Use the Number of Beats field to match the number of beats in the sequence. To tune the sample to the sequence, tap Match. The Tune field will adjust automatically and close the window.
The Link Slices button does not have a function in Program Mode. 0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample. To enable or disable 0 Snap, press and hold Shift, and then tap 0 Snap at the bottom of the screen. To enable or disable the loop function, press and hold Shift, and then tap Loop at the bottom of the screen. This switches the loop function between Forward and off.
Assigning Samples You can assign your new sample directly to a pad from Program Mode. To assign a sample, tap Assign at the bottom of the screen to open the Assign Sample window. Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project.
Processing Slices Press and hold Shift, and then tap the Process button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the Function field to select an editing process. Double-tap it or tap Function at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.
The Silence process replaces the region between the start point and end point with silence. The Extract process deletes the regions before the start point and after the end point and saves it as a new sample (with a name you enter) in your current project. Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use separately in the project. The Normalize process increases a sample’s level to the highest level possible without distortion.
The Fade In process sets a fade-in between the start point and end point. The following types are available: Linear fades the audio in with a linear curve—a straight line between the start and end. Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end. Exp fades the audio in with an exponential curve— slowly rising in the beginning and growing steeper towards the end. The Fade Out process sets a fade-out between the start point and end point.
Program Edit Mode Program Edit Mode contains all parameters for editing your Programs. For drum programs, this mode includes the parameters of four layers as well as all synthesis parameters and insert effect settings. See the Drum Programs section to learn more. For keygroup programs, this mode contains slightly more parameters than drum programs. See the Keygroup Programs section to learn more. For clip programs, this mode looks very different from that of other programs due to how clip launching works.
Tap the location icon at the top of the screen (between the Program and Pad fields) to open the Edit Zones window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the Mode selector to set how the selected pads will be edited: Current: Only the currently selected pad can be edited. Multiple: All selected pads can be edited simultaneously. All: All pads can be edited simultaneously.
Tap the down-arrow icon at the top of the screen (next to the Program field) to open the Flatten Pad window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (127) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample.
Master In the Master tab, you can set the playback mode and tuning for the overall Program. Polyphony sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program. In Poly Mode, several pads can be triggered at the same time (limited only by the total number of voices available).
Samples Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its three available tabs. On all three sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon. To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.
The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls. The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks.
The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point, do any of the following: • Tap and drag the S or E marker left or right. • Use the Start or End fields shown below the waveform. • Use the first bank of Q-Link knobs to adjust the start point or the second bank of Q-Link knobs to adjust the end point. The top-most Q-Link knob provides coarse adjustment.
Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field (in the LFO Modulation tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number. Off: The sample will not loop.
Tap Warp to enable or disable warping of the sample. When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch. When disabled, lengthening or shortening the sample will also change its pitch and vice versa. Use the Stretch field to set the “stretch factor,” which affects how the sample is warped (if Warp is on). Use the BPM field to enter a tempo, which affects how the sample is warped (if Warp is on). Tap BPM Sync to enable or disable BPM Sync.
The second Samples tab contains controls for its pitch and volume level. Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off). This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off).This is the same as the Fine field on the first Samples tab.
The third Samples tab contains the control for its offset. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value. Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.
Pan Velocity Use the pan knob to adjust the stereo placement of the respective layer. Use the Vel Start and Vel End knobs to define the velocity range of each layer. A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respectve pad while, for example, a range from 100 to 127 lets the layer respond only to higher velocity levels.
Filter/Envelope Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point. Tip: Use values lower than 80 to give more brilliance to the sound.
The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters. The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output.
Use the Pad Polyphony field to determine how the pad’s sound behaves when multiple hits are registered. When set to Mono, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute all other currently playing pads in that program. When set to Poly, several pads can be triggered at the same time (limited only by the total number of voices available).
Effects Inserts You can select up to four insert effects for each pad. To learn how to use insert effects, please see General Features > Effects > Insert Effects. To add an effect: 1. Double-tap the desired Inserts slot. A list of effects will appear. 2. Swipe up or down to move through the list. You can tap the Type and Manufacturer buttons to sort your effects by those categories. 3. To load an effect, double-tap it, or tap Select. To close the list, tap Close.
To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels.
Keygroup Programs When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup. To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the Keygroup field at the top of the screen. To view a specific tab of parameters, tap the Master, Samples, Pan Velocity, Filter/Env, LFO Modulation, or Effects button at the bottom of the screen.
Master In the Master tab, you can set the playback mode and tuning for the overall program. Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at a time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will immediately mute all other currently playing keygroups in that program.
Level controls the overall volume level of the loaded sample/samples. Pan controls the overall panning of the loaded sample/samples in the stereo field. Note Range lets you restrict the key range used for a sample’s playback. Only notes with a key number higher or equal (Lo) or lower and equal (Hi) to the selected value will trigger a sound. The settings for Lo and Hi are also shown in the virtual keyboard in the Edit Layers section.
Layer Play determines how multiple samples assigned to the same pad are played: • Cycle (Cyc): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc. • Velocity (Vel): The pad will switch between layers depending on how hard you press a pad. • Random (Ran): Each time the pad is played, it will play one of its layer’s samples at random.
Samples Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap Samples to cycle through its three available tabs. On all three sections, you can access the Settings window, which lets you configure certain settings in the Samples tab. To view the Settings, tap the gear icon. To close the Settings, tap Close, the X in the upper-right corner, or anywhere outside the window.
The first Samples tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks.
The green/S marker and red/E marker are the start point and end point (respectively). These two points define the region of the sample that will be played. To move the start point or end point, do any of the following: • Tap and drag the S or E marker left or right. • Use the Start or End fields shown below the waveform. • Use the first column of Q-Link knobs to adjust the start point or the second column of Q-Link knobs to adjust the end point. The top-most Q-Link knob provides coarse adjustment.
Use the Reverse button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. Use the Pad Loop button to cycle through the available Pad Loop modes. Important: For Pad Loop to work, you must (1) set the Sample Play field (in the Master tab) to Note On instead of One Shot and (2) set the Slice field (in the first Samples tab) to Pad instead of All or a slice number. Off: The sample will not loop.
The second Samples tab contains controls for its pitch and volume level. Semi lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if Warp is off).This is the same as the Semi field on the first Samples tab. Fine provides fine-tuning of each layer by cents. This will affect the length of the sample (if Warp is off).This is the same as the Fine field on the first Samples tab.
The third Samples tab contains the control for its offset. Use the Offset slider to determine a time offset for the sample’s playback. Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value. Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the offset value.
Pan Velocity Use the Pan knob to adjust the stereo placement of the respective layer. Use the Vel Start and Vel End knobs to define the velocity range of each layer. A range from 0 to 127 lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from 100 to 127 lets the layer respond only to higher velocity levels.
Filter/Envelope Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the available filter types. Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point. Tip: Use values lower than 80 to give more brilliance to the sound.
The Filter Envelope controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the Env knob. See Anatomy of an Envelope to learn about the envelope parameters. The Amp Envelope controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output.
Use the Rate field to determine the LFO frequency. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range. Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.
Effects Inserts You can select up to four insert effects for each keygroup. To learn how to use insert effects, please see General Features > Effects > Insert Effects. Important: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well. To add an effect: 1. Double-tap the desired Inserts slot. A list of effects will appear. 2.
To adjust the effect’s parameters, tap the pencil icon. Use the sliders to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global. Sends The audio of the program will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels.
Clip Programs When using clip programs, Program Edit Mode lets you assign a sample (a loop called a clip) to each pad in a single bank. You can also edit various settings to determine how each pad launches its assigned clip. To select a pad, press it. Its parameters will appear on the screen immediately. To view a specific tab of parameters, tap Program or Pad the bottom of the screen. The Program tab is where you assign clips to pads (see Program below).
The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. The Settings window lets you configure certain Audio Edit Mode settings. To view the Settings, tap the gear icon. Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead while viewing the Pad tab.
Program This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization. To assign a sample to a pad, press or tap a pad to select it (it will play its assigned samples, if any). Tap the Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-tap the Sample field, and then tap a clip to select it. To clear the assigned clip from a selected pad, assign a sample to a pad, but select None.
Pad The upper half of the screen shows the clip waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played.
Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of this chapter to learn how to use the parameters in this window. To assign and edit a clip: 1. Assign a sample to a pad using the Program tab (described earlier). For example, start with a four-bar drum loop. 2. In the Pad tab, note that the BPM field has a value, which is automatically detected. If the Warp button is not already on, tap it.
Tap Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo. Use the Coarse and Fine sliders if you want to change the pitch. Use the Pad Play field to determine how the clip is played. One Shot: When you press the pad, the entire clip will play from start to end and then stop. Toggle: When you press the pad, the entire clip will play from start to end and loop indefinitely.
Plugin Programs For plugin programs, you will see an overview of all available plugin parameters with a slider for each. Important: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. Use the sliders to set the value of each parameter.
MIDI Programs For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Use the sliders to set the value of each parameter. Use the six tabs at the bottom of the screen to access the available parameters. To assign a parameter to one of the sliders, use the MPC software. Note: To see user guide in the MPC software and learn how to do this, click the Help menu, select MPC Help, and select MPC User Manual.
CV Programs For CV programs, you will see an overview of all available CV outputs with a slider for each. The automation button indicates the global automation state. This is shown in several modes. See General Features > Automation to learn about this. Use the sliders to set the value of each parameter. Use the six tabs at the bottom of the screen to access the available parameters. To assign a parameter to one of the sliders, use the MPC software.
Anatomy of an Envelope An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a sound over a given period of time. For drum programs, use the AD/AHDS selector to select an AD or AHDS envelope. When Sample Play is set to Note-On, it will use an ADSR envelope. Keygroup programs always use AHDS envelopes. When Sample Play is set to Note-On, it will use an ADSR envelope. With AHDS envelopes, the following happens when you trigger a sample: 1.
List Edit Mode List Edit Mode has some of the features of the Grid View—as well as some additional ones—but with a different interface/workflow. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this. The clock icon at the top of the screen opens the Timing Correct window. See General Features > Timing Correct (TC) to learn about this.
The Settings window lets you configure certain List Edit Mode settings. To view the Settings, tap the gear icon. Use the Hitting Pad Selects All Events selector to turn the feature on or off. When On, pressing a pad will automatically select all note events for that pad in the sequence on that track. When set to Off, pressing a pad will simply play its sound without selecting any note events. Use the Auto-Advance on Step Record selector to turn the feature on or off.
The red arrow () on the left side of the list represents the audio playhead’s current position. If your sequence is playing, the arrow will move accordingly.
To select an event, tap it. To select multiple events, press and hold Shift and tap each event. To insert a note event, press Rec or Overdub so the button is lit, and then press a pad. A note event will be created at the current location using the pad you pressed. You can keep pressing additional pads, which will continue to insert each press as a single note event in the order you pressed them (similar to a step sequencer). Press Stop to exit this function.
Browser The Browser lets you navigate your MPC hardware’s internal and external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your preferred workflow. You can also audition (preview) your samples before loading them. Important: You can install an additional SATA drive in your MPC hardware, allowing for even more storage space. See Appendix > SATA Drive Installation to learn more about this.
To enter a folder, double-tap it or tap Open in the lower-right corner. Alternatively, press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch) to enter a selected folder. You can also tap one of the folder buttons (1–5) in the upper-right corner to jump immediately to those pre-assigned file paths (see below to learn how to assign these file paths). To load a selected file, double-tap it, tap Load, or press the center cursor or Enter (MPC X) or the data dial (MPC Live, MPC Touch).
Use the six Content buttons to show specific locations in the internal drive of MPC X or MPC Live and filter them automatically by file type: Drums: Tap this button to enter the Expansions/The Vault 2 folder on the internal drive, viewing program files only. Instruments: Tap this button to enter the Expansions/Instruments folder on the internal drive, viewing program files only. Clips: Tap this button to enter the Expansions/Cliips folder on the internal drive, viewing program files only.
Sampler The Sampler lets you record audio samples to use in your projects. Important: To record any audio, you need to connect an audio source to your MPC hardware or to your computer’s audio interface. To open the Sampler, do either of the following: • Press Menu and then tap Sampler. • Press Sampler (MPC X). To set up the Sampler before recording: 1.
The upper-left Input Source field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode). You can also select an internal signal from within your MPC hardware (Resample L, Resample R, or Resample L+R).
For reference, the Sample Length counter shows you the length of your sample during the recording procedure. Tap Arm to record-arm the Sampler. The button will then change to Record and show Waiting for signal. At that point, start recording by doing either of the following: • Start performing so that the incoming audio level exceeds the level of the threshold slider. • Tap Record under the Sample Length counter. To disarm the track instead, tap Cancel.
Sample Using this method, you can insert slice markers directly in your sample as you record it. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode > Chop Mode for more information). This is useful when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
After you stop your recording, the Keep or Discard Sample window will appear. Use the Edit Name field to name the new sample. Tap it and use the virtual keyboard that appears. Use the Program field to assign the new sample to a program. Select if you want to save it to the project without assigning it to a program. Use the Assign to Pad field to assign the sample to a pad in the program. Use the Root Note field to set where the sample’s original pitch will be on the keyboard.
Slice Using this method, the pads correspond to slices of the currently recorded sample. Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit Mode > Chop Mode for more information). This is useful when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
Use the Create New Program field to assign the new sample to a new program: Off: No program will be created. The slices will still be added to your project’s sample pool. With Non-Destructive Slices: In the new program, each pad’s Slice setting will be set to the corresponding slice number. This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop Mode > Converting or Assigning Slices).
Pad Hold Important: This mode works for drum programs only; you must select a drum program before using this mode. Otherwise, this feature will not do anything, even though it may appear to work. With this method, pressing and holding a pad immediately starts or continues recording directly to that pad (make sure you are using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads without samples are lit dim yellow.
Looper The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop as a sample to use in your project. To open the Looper, do either of the following: • Press Menu, and then tap Looper. • Press Shift+Sampler/Looper (MPC X). Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter to learn how to use the Looper in different cases.
The time counter at the top of the screen indicates the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this. The upper-left Input Source field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (Input 1,2–3,4 in Standalone Mode, Input 1,2–31,32 in Controller Mode) or a single input (Input 1–4 in Standalone Mode, Input 1–32 in Controller Mode).
Use the Bars field to define the length of your loop. Regardless of how much or how little audio you record, this is how long your loop will be. Use the Sync button to sync or un-sync the looper with sequence playback. When on, the Looper will stay in step with your current sequence. When you play or record into the Looper, it will wait until the sequence starts playing Bar 1 to start.
To record with the Looper: Important: To record without erasing any audio you’ve already recorded in the loop, use the Overdub button. To overwrite the audio you’ve already recorded, use the Replace button. If Record To is set to Play: To start recording, tap the Replace or Overdub button as the loop is playing. The Looper will start recording immediately. To stop recording, tap the Replace or Overdub button. The Looper will stop recording but continue playing.
To export the loop as a sample: 1. Tap Export to open the Export Loop as a Sample window. 2. Tap the Edit Name field and use the virtual keyboard that appears to enter a new name. 3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select . 4. Optional: If you’re assigning the sample to a program, use the Assign to Pad field to assign it to a specific pad. Alternatively, just press the pad. To ignore this feature, select Off. 5.
Pad Mixer In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects. This mode appears differently for each type of program: For drum programs, this mode shows a pad with controls for each individual pad (of 128). For keygroup programs, this mode shows a pad with controls for each individual keygroup (up to 128). For clip programs, this mode shows a pad with controls for each individual clip (up to 16).
Use the Program field in the upper-left corner to select the program whose pads you want to view. Remember that only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer. Use the Track field at the top of the screen to select the desired track. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.
Levels When the Level tab is selected, use the data dial or –/+ buttons to adjust the level of the currently selected pad. The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter. Panning When the Pan tab is selected, use the data dial or –/+ buttons to adjust the panning of the currently selected pad. The pan sliders in each pad show a visual representation of the level.
Mute When the Mute tab is selected, mute the currently selected pad by doing any of the following: • Turn the data dial. • Use the –/+ buttons. • Tap the pad on the screen. When a pad is muted, its M button will light red. Send Effects When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of the currently selected pad. The level sliders in each pad show a visual representation of the level.
Insert Effects When the Insert tab is selected, use the data dial or –/+ buttons to open a window where you can select an effect for the currently selected pad. Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect. The level meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a window where you can load, change, and enable or disable the effects for all four insert slots.
Channel Mixer In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes (while using your MPC hardware in Controller Mode), and masters. To open the Channel Mixer, do either of the following: • Press Menu, and then tap Channel Mixer. • Press Ch. Mixer (MPC X). The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Their functionality is mostly identical.
Levels When the Level tab is selected, use the data dial or –/+ buttons to adjust the velocity level or volume level of the currently selected track, program, return, submix, or master. The level sliders and meters in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider and meter.
Send Levels (audio tracks, programs, and submixes only) When the Send tab is selected, use the data dial or –/+ buttons to adjust the send level of audio tracks, programs, or submixes. The level sliders in each pad show a visual representation of the level. Double-tap a pad on the screen to open a large version of the level slider. You can use up to four send channels. Tap Send to cycle through the four available slots for each.
MIDI Tracks The MIDI Track Mixer shows levels, panning, and mute states for all used tracks. To view a specific setting on all tracks, tap Level, Pan, or Mute at the bottom of the screen. Tap Mute/Solo to switch between them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the MIDI track channel strip: Note: This is the same as the MIDI track channel strip in Main Mode.
Audio Tracks The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks. To view a specific setting on all tracks, tap Level, Pan, Mute/Solo/Rec Arm, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo/Rec Arm to cycle through them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Tap the automation button or press Read/Write (MPC X) to cycle through its three states: When off, the audio track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while pressing or tapping the button.
Programs The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs. To view a specific setting on all programs, tap Level, Pan, Mute/Solo, Send, Insert, or Route at the bottom of the screen. Tap Mute/Solo to switch between them. Tap Send or Insert to cycle through the four available slots for each. When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom.
Tap the program automation button to change the program’s automation. Tapping it will cycle through its three states: When off, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (R) and Write (W) only, but you can override this and turn it off by pressing and holding Shift while tapping the button.
Returns Pads, programs, and audio tracks can each be sent to up to four send channels. Their audio signals will be routed to the send channels at their designated send levels. After being processed by the effects on those channels, their signals are then sent to the assigned master output based on their return settings (levels, panning, etc.). This view displays the four return channels. The return mixer shows levels, panning, mute states, insert effects, and routing for all used tracks.
Submixes The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes. Important: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. To view a specific setting on all submixes, tap Level, Pan, Mute, Send, Insert, or Route at the bottom of the screen. You can tap Send or Insert multiple times to cycle through the four available slots for each.
Masters The Master Mixer shows levels, panning, mute states, and insert effects for all used stereo pairs of outputs (Out 1,2– 7,8 in Standalone Mode, Out 1,2–31,32 in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). To view a specific setting on all outputs, tap Level, Pan, Mute, or Insert at the bottom of the screen. You can tap Insert multiple times to cycle through the four available slots.
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad within a program. To enter Pad Mute Mode, do either of the following: • Press Menu, and then tap Pad Mute. • Press Shift+Track Mute/Pad Mute (MPC X). There are two tabs you can view in this mode: Pad Mute or Pad Group. Tap each button in the lower-left corner to select it. See the following Pad Mute and Pad Group sections to learn about each.
Pad Mute You can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds. Tip: This function is similar to muting pads one at a time in the grid—but more convenient. To mute pads in this mode: 1. If the Pad Mute tab in the lower-left corner is not already selected, tap it. 2. Select the desired pad bank.
Pad Group The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track) by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different pad groups. To use pad groups: 1. If the Pad Group tab in the lower-left corner is not already selected, tap it. 2.
Track Mute Mode Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling you to mute multiple tracks at once. To enter Track Mute Mode, do either of the following: • Press Menu, and then tap Track Mute. • Press Track Mute (MPC X). There are two tabs you can view in this mode: Track Mute or Track Group. Tap each button in the lower-left corner to select it. See the following Track Mute and Track Group sections to learn about each.
Track Mute This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track. Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View. To mute tracks in this mode: 1. If the Track Mute tab in the lower-left corner is not already selected, tap it. 2. Select the desired pad bank.
Track Group The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different track groups. To assign tracks to track groups: 1. If the Track Group tab in the lower-left corner is not already selected, tap it. 2.
Next Sequence Mode Next Sequence Mode lets you trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time. To enter Next Sequence Mode, do either of the following: • Press Menu, and then tap Next Sequence. • Press Next Seq (MPC X). The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See General Features > Time Counter/Locate to learn about this.
In Next Sequence Mode, every pad is assigned to a sequence, starting from Pad A01 with Sequence 1 and ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to unused sequences. The currently selected pad will flash green. During playback, change the next sequence that will play by pressing the corresponding pad or tapping it on the screen. If you do not select another sequence, the current sequence will repeat indefinitely.
Song Mode Song Mode lets you arrange sequences in a specific order and/or repetition to create songs. You can edit the structure of a song during playback for easy, on-the-fly composing. A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can have an assigned sequence as well as the number of times that sequence will repeat. To open Song Mode, do either of the following: • Press Menu, and then tap Song Mode. • Press Shift+Next Seq/Song (MPC X).
The sequence playlist on the left lists of the “steps” of a song.
To change a step’s sequence: 1. In the desired step, tap the sequence name. 2. Use the data dial or –/+ buttons to select another sequence. To delete a step, tap it, and then tap Delete in the lower-right corner of the screen. To clear the entire sequence playlist (delete all steps), tap Clear. To convert the current song to a single sequence: 1. Tap Convert > Seq to open the Convert to Sequence window. 2. Use the To Sequence field to select which sequence you want the song to export to. 3.
Q-Link Edit Mode Q-Link Edit Mode lets you determine what the Q-Link knobs control in other modes. This is helpful when you want to use the Q-Link knobs to control parameters that might not be shown in the current mode—or parameters that are shown across different modes. To enter Q-Link Edit Mode, do any of the following: • Press Menu, and then tap Q-Link Edit. • Press Shift+Screen Control/Edit (MPC X).
Tap the Learn button to turn Learn Mode on or off. When on, adjusting a control in the MPC software window will immediately assign it to the currently selected Q-Link knob. This button is not available while in Screen Q-Link Edit Mode where the Q-Link knobs are unassignable. To assign a function to a Q-Link knob in Learn Mode: 1. Tap Learn so the button is lit. (This will stop playback. Resuming playback will exit Learn Mode.) 2. Touch or turn the desired Q-Link knob. 3.
Project In the Project Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project. Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs: MIDI Track: MIDI track parameters. Use the MIDI Track field to select one of the MIDI tracks in your project. Audio Track: audio track parameters. Use the Audio Track field to select one of the audio tracks in your project. Program: program parameters.
Use the Parameter field to select the parameter you want to control with the currently selected Q-Link knob.
Program/Audio Track In the Program/Audio Track Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track.
When Type is set to Pad: Mixer: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4 Program: Off Amp Env Hold Layer Sample Pan (1–4) LFO to Filter Velocity to Amp Tuning Amp Env Sustain Layer Semi Tune (1–4) LFO to Amp Velocity to Pan Filter Cutoff Filter Env Attack Layer Fine Tune (1–4) LFO to Pan Layer Direction (1–4) Filter Resonance Filter Env Hold Velocity to Start LFO Wave Layer Offset (1–4) Filter Env Amount Filter Env Decay Vel to Filter Attack LFO Rate Amp Env Attack Filter Env S
Pad Scene In the Pad Scene Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad. (These assignments are automatically saved with other user settings. Any project you load will use these assignments.) To select a pad, press it.
Pad Parameter In the Pad Parameter Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank. For example, if the Parameter is set to Level, the 16 Q-Link knobs will adjust the 16 independent Level settings for each pad in the current pad bank. You could then set the Parameter to Pan and use the Q-Link knobs to adjust the panning of all 16 pads.
Screen In the Screen Q-Link Edit Mode, the Q-Link knobs will control only the parameter or group of parameters in your currently selected mode (e.g., Main Mode, Sample Edit Mode, etc.).
Pad Color Mode Pad Color Mode lets you assign specific colors to your pads in each program. To enter Pad Color Mode, make sure you have first selected a track that uses the desired program, and then press Menu, and tap Pad Color. Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select a track that uses the desired program in another mode.
Use the Single Pad/All Pads select to determine whether you are setting the color for a Single Pad or All Pads. Tip: To quickly assign that color to all pads in the program, press and hold Shift while tapping a color button. Use the color buttons to select which color you are assigning. Tip: To select the color button corresponding a specific pad’s color, press and hold Shift, and then press the pad or tap it on the screen.
MIDI Control Mode You can use MIDI Control Mode on your MPC hardware to customize what MIDI messages are sent from certain controls on your hardware. This custom “control map” will then work whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be retained with the current MPC project. In Standalone Mode, this feature enables you to use your MPC X or MPC Live to control external MIDI devices connected to its MIDI out.
Pads These are the MIDI parameters you can edit for each pad: Control: This is the hardware control you are currently editing (Pad 1–Pad 16). Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages and parameters will be identical across all eight banks. Set All: When this box is checked, the pad’s messages and parameters will be identical across all eight banks. When this box is unchecked, the pad’s messages and parameters will apply to the current pad only.
Buttons These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap, Undo/Redo, or Copy/Delete buttons: Control: This is the hardware control you are currently editing (Erase, Tap, Undo, or Copy). Light LED: This determines how the button’s LED (or multiple LEDs) will behave. When set to Never, the LEDs will always be off. When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the button.
Q-Link Knobs These are the MIDI parameters you can edit for each Q-Link knob: Control: This is the hardware control you are currently editing (QLink 1–4). Light LED: Although you can edit this parameter, it does not actually have a function on your MPC hardware. When set to Never, the LEDs will always be off. When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the Q-Link knob.
XY Pad These are the MIDI parameters you can edit for each axis of the XY pad: Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you tapped the XY tab to show the XY pad’s parameters. You can tap the Hardware tab to show this field. Mute: This button determines whether the axis is muted or not. When muted, its MIDI output is disabled. You must be viewing the Settings to do this.
Pad Perform Mode Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more creative performance. To enter Pad Perform Mode, do either of the following while using a keygroup program, MIDI program, plugin program, or CV program: • Press Menu, and then tap Pad Perform. • Press Pad Perform (MPC X). Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these programs.
Use the Type selector to determine what will be mapped over the pads: Notes: Each pad is assigned a note, ascending by one scale degree with each pad. Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the Scale. Chromatic Chords: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. You can play any chord type regardless of the key determined by the Scale.
Use the Scale & Octave fields to determine the root note and the scale type. Root Note (pitch and register): This is the starting point of the scale. The available notes are all chromatic notes across the range of the pads. The pad that’s assigned the root note will be lit differently (and highlighted on the screen) to indicate where the scale starts in each octave. Scale Type: This is the scale or mode based on the root note (this is disabled when Type is set to Progressions).
Appendix Effects & Parameters This chapter lists the available effects. To learn more about how effects work with MPC, please see General Features > Effects. Note: Some of these effects have a “sync” version (e.g., Flanger Sync, Autopan Sync, etc.) whose rates will be affected by the current tempo. While viewing the rate of these effects, a “.” next to the time division indicates a triplet-based rate.
Reverb Large This is a spatial effect, designed to emulate the sound of a large hall.
Reverb Out Gate This is a hall reverb that has an additional control. The reverb Parameter effect is cut off when the output drops below the level set in Dry/Wet the Gate Out parameter.
Delay Stereo Stereo Delay operates similarly to Mono Delay but in true stereo.
Delay Analog Analog Delay is similar to the Mono Delay, except that it’s Parameter designed to emulate an analog “Bucket Brigade”-style delay. Dry/Wet This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Delay Multi-Tap This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.
Chorus A chorus effect uses an LFO to modulate the pitch and a delay of the input signal, which are then added to the dry signal. In small amounts, this creates the illusion of multiple voices playing at once. Turn up the Feedback and Depth for more pronounced “shimmering” and “watery” sounds.
Tremolos This effect uses an LFO to increase and decrease the volume of the signal. Depending on the LFO shape, this can produce a smooth wave effect (sine wave) or a stuttering “on-off” effect (square wave).
HP (High-Pass) Filters Options: HP Filter, HP Filter Sweep, HP Filter Sync, HP Shelving Filter HP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Frequency 10–19999 Hz 1500 Resonance 0–100 0 HP Filter Sweep This effect is a high-pass filter with its cutoff frequency modulated by an LFO. HP Filter Sync This effect is a high-pass filter with its cutoff frequency modulated by an LFO.
LP (Low-Pass) Filters Options: LP Filter, LP Filter Sweep, LP Filter Sync, LP Shelving Filter LP Filter This effect is a static filter without modulation. LP Filter Sweep This effect is a low-pass filter with its cutoff frequency modulated by an LFO. LP Filter Sync This effect is a low-pass filter with its cutoff frequency modulated by an LFO.
Parametric EQs Options: PEQ 2-Band, 2-Shelf, PEQ 4-Band PEQ 2-Band, 2-Shelf This effect is a combination of one two-band parametric equalizer and two shelving filters. Parameter Value Range Default Value Low Frequency 22–1000 Hz 220 Frequency 1 82–3900 Hz 820 Frequency 2 220–10000 Hz 2200 High Frequency 560–19999 Hz 5600 Q1 0–100 0 Q2 0–100 0 Low Gain -18.0 – 18.0 dB 0.0 Gain 1 -18.0 – 18.0 dB 0.0 Gain 2 -18.0 – 18.0 dB 0.0 High Gain -18.0 – 18.0 dB 0.
Distortions Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Distortion Custom Distortion Amp This effect is designed to reproduce the sound of a tube amplifier at high volumes.
Distortion Custom This effect is a highly customized distortion, capable of a wide range of useable sounds. Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Drive 0–100 50 +Soft 5–75 2 +Clip 5–50 25 –Soft 5–75 2 –Clip 5–50 25 Low -18.0 – 18.0 dB 0.0 Mid -18.0 – 18.0 dB 0.0 High -18.0 – 18.0 dB 0.0 Output -18.0 – 18.0 dB 50 Compressors A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.
Compressor VCA This compressor is more modern-sounding, with a slightly more transparent sound. A VCA Compressor tends to have quicker attack and release times than an Opto Compressor.
Other Options: Auto Wah, Frequency Shifter, Transient Shaper Auto Wah This effect is a low-pass filter modulated by an envelope that Parameter yields a classic funky “wah-wah”- like sound. The envelope is triggered by the incoming signal’s amplitude. The amount Dry/Wet of the envelope on the cutoff frequency is user-definable.
Glossary This glossary briefly defines and explains many of the technical terms used throughout this manual. Aftertouch The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated. This feature makes sounds even more expressive (e.g., through vibrato).
CV CV stands for control voltage, an analog method of sending control messages to external synthesizers, drum machines, etc. CV messages are typically used in conjunction with Gate messages (CV messages determine the pitch of notes while Gate messages determine note activation and length). CV messages are sent from the CV out ports of your MPC hardware and to the CV in ports of your external MIDI device.
LFO LFO is an acronym for low-frequency oscillator. The LFO generates a periodic oscillation at a low frequency and features variable waveshapes. Similar to an envelope, an LFO can be used to modulate a sound-shaping component. MIDI MIDI stands for musical instrument digital interface. Developed in the early 1980s, MIDI enables interaction between various types of electronic music instruments from different manufacturers.
Program A program is a file that contains a list of all samples to be used, and settings for each sample (e.g., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode is where you can edit and assign samples (read more about this in Operation > Modes > Program Edit Mode). You can have a total of 128 programs in a project. There are three kinds of programs that use samples for their sound source.
Stretch Factor The stretch factor is a value generated by the Warp algorithm in the software. When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the BPM field to generate the stretch factor.
SATA Drive Installation To create more internal storage space on your MPC hardware, you can purchase a SATA (Serial ATA) drive and install it yourself, but read this chapter first. Your MPC X or MPC Live can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a 2.5” (63.
MIDI Machine Control (MMC) Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls.
Technical Specifications Specifications are subject to change without notice. MPC X ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point Mic Inputs 1–2 Dynamic Range 112 dB (A-weighted) (2) balanced XLR+1/4” (6.35 mm) TRS SNR 111 dB (1 kHz, +4 dBu, A-weighted) THD+N 0.003% (1 kHz, +4 dBu, -1 dBFS) Preamp EIN -135 dBu (max gain, 40 Ω source, A-weighted) Digital Audio System -129.
Phono Inputs Dynamic Range 108 dB (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source) (2) unbalanced RCA SNR 86 dB (A-weighted, 4 mVrms @ 1kHz, 20 Ω source) THD+N 0.005% (1 kHz, -46 dBu, -1 dBFS) Maximum Input Level 63 mVrms (1 kHz) Sensitivity 2 mVrms (1 kHz) Master Outputs 1–2 Dynamic Range 114 dB (A-weighted) (2) impedance-balanced 1/4” (6.35 mm) TRS THD+N 0.006% (1 kHz, -1 dBFS) Frequency Response 20 Hz – 20 kHz (+0.0 / -0.
Mechanical Pads (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons Knobs (16) 360° touch-sensitive Q-Link knobs for parameter adjustment (7) 270° knobs for gain, mix & level adjustment (1) 360° encoder for value/data adjustment Memory File System Compatibility Display 10.1” (25.
MPC Live ADCs 24-bit @ 44.1, 48, or 96 kHz DACs 24-bit @ 44.1, 48, or 96 kHz Digital Signal Processing 32-bit floating point Line Inputs Dynamic Range 113.5 dB (A-weighted) (2) balanced 1/4” (6.35 mm) TRS SNR 108 dB (1 kHz, +4 dBu, A-weighted) THD+N 0.001% (1 kHz, +4 dBu, -1 dBFS) Frequency Response 20 Hz – 20 kHz (+0.0 / -0.1 dB) Maximum Input Level +11 dBu Sensitivity -13.5 dBu Gain Range 24.
Mechanical Pads (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons Knobs (4) 360° touch-sensitive Q-Link knobs (4) Q-Link knob columns accessible via Q-Link button (1) 360° encoder for value/data adjustment and selection via push Memory File System Compatibility Display 7” (17.
MPC Touch Line Inputs Dynamic Range 102 dB (A-weighted) (2) balanced 1/4” (6.35 mm) TRS SNR 99 dB (1 kHz, +4 dBu, A-weighted) THD+N 0.002% (1 kHz, +4 dBu, -1 dBFS) Frequency Response 20 Hz – 20 kHz (+0.1 / -0.1 dB) Maximum Input Level +15 dBu Input Impedance 12 KΩ (balanced), 5 KΩ (unbalanced) Sensitivity -16 dBu Gain Range 31 dB Main Outputs Dynamic Range 100 dB (A-weighted) (2) impedancebalanced 1/4” (6.35 mm) TRS THD+N 0.
Trademarks & Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. Ableton is a trademark of Ableton AG. ASIO and VST are trademarks of Steinberg Media Technologies GmbH. The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license. MPC software incorporates élastique Pro V3 by zplane.development. Apple and macOS are trademarks of Apple Inc.
Addenda Updates in MPC 2.1 New Features Exporting Expansions You can export MPC Expansion Packs (installed on your computer) to your MPC X or MPC Live for use in its Standalone Mode. (This has been added to Operation > Modes > Browser > Browse.) To export MPC Expansions: 1. Connect your MPC X or MPC Live to your computer. Make sure both are powered on. 2. On your computer, open the MPC software. 3. On your MPC X or MPC Live, enter Controller Mode. 4.
Snap: Absolute & Relative While editing a MIDI or audio track, you can now use the Grid View or Audio Edit Mode to move or copy events using two different ways of “snapping” note events to the grid: Absolute or Relative. (This has been added to Operation > Modes > Grid View and Audio Edit Mode.) To view the Settings, tap the gear icon. Use the Snap Mode selector to set how events “snap” to the grid.
Pitch Quantization In a MIDI track, you can now force the pitches of note events into a specific scale. This quantization process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section.) To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. To open the Pitch Quantize window, tap Pitch Quantize. To select the desired root note of the scale, use the Root Note field.
Step Sequencer: Velocity Adjustment via Q-Links While using the Step Sequencer, you can now use the Q-Link knobs to adjust the velocity of the note event at each step (the Q-Link knobs must be in the Screen edit mode). On MPC X, the number of each step will be shown under the corresponding Q-Link knob. (This has been added to Operation > Modes > Step Sequencer). To adjust the velocity of each note event, use the corresponding Q-Link knob to select a value (1–127).
Updates in MPC 2.
Ch: This is the MIDI channel the control is using. Data: This is the MIDI note number or CC number. Flip: Tap this box to select or deselect it. When selected, the control’s polarity will be reversed (e.g., a button’s “off” state will become its “on” state and vice versa). To assign a parameter to a hardware control: 1. Tap Learn in the upper-left corner so it is on. (The Enable Mapping button will also activate if it is not already on.) 2.
The Humanize function applies randomization to the timing, length, and/or velocity of MIDI note events. To select whether or not humanization will be applied to the timing of MIDI events, tap the Humanize Time checkbox. To select the maximum number of pulses by which the timing of an event will be adjusted, use the Amount (Pulses) slider. To set how dramatically the humanization effect is applied to the timing, use the Eagerness slider.
Generate Random Events You now create random melodic or drum patterns on the current MIDI track. This process is available with other track editing processes. (This has been added to Operation > Modes > Main Mode > Track Section). To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. To open the Generate Random Events window, tap Generate Random Events. The Generate Random Events function creates random melodic or drum patterns on the current MIDI track.
If Event Type is set to Drum Events: To select the pad bank that will be used to generate the events, use the Bank field or select Range to use the Start Pad and End Pad menus to define a specific pad range instead. To define a specific pad range over which the events will be generated, use the Start Pad or End Pad fields. You can use these fields only if the Bank menu is set to Range. To set how closely together the events will be placed in the track, use the Density (%) slider.
To set the maximum number of note events that can be sounding simultaneously in the track, use the Polyphony field to select 1–8. To determine whether or not the notes will use a scale, tap the Constrain Notes to Scale checkbox. When on, the notes will be within the scale determined by the Scale menu. When off, the notes will be chromatic. To set how closely together the events will be placed in the track, use the Density (%) slider.
Corrections Operation > General Features > Menu > Preferences (Page 70) We added the following exceptions to how the Preferences are saved. Changes to the Preferences are saved automatically except for Vintage Mode (in the General tab) and Start Time (in the Sync tab). Operation > General Features > Menu > Preferences (Page 72–73) We added information about how project template files are selected in the Preferences. New Project Dialog: This determines what options you see when you start a new project.
