User Guide English Manual Version 1.
Table of Contents Welcome to the MPC .................................................................................................................................. 7 System Requirements and Product Support ..................................................................................... 7 About This Manual ................................................................................................................................ 8 Important Notes..................................................
Operation (Software) ................................................................................................................................ 43 General Features ................................................................................................................................. 44 Adjusting the Controls ..................................................................................................................... 44 Program Types ...................................................
Program Mixer Mode ........................................................................................................................ 109 Routing .......................................................................................................................................... 110 Levels ............................................................................................................................................ 110 Panning..........................................................
Sample Edit Mode ............................................................................................................................. 136 Waveform Display ......................................................................................................................... 137 Edit Section.................................................................................................................................... 138 Pad Section .............................................................
Operation (Plugin) .................................................................................................................................. 178 Differences Between the MPC Plugin and Standalone Application............................................... 178 Appendix ................................................................................................................................................. 179 Keyboard Shortcuts ...................................................................
Welcome to the MPC Thanks for choosing the MPC! Fusing Akai Professional's legendary MPC layout and workflow with the power of your computer, MPC software is an unrivaled instrument for music production. MPC Renaissance is a fully integrated hardware-software system, allowing you to create using classic hardware controls and an integrated pop-up display, while its exclusive MPC software empowers you with unprecedented, expandable production capabilities on your Mac or PC.
About This Manual This manual was written to help you get familiar with the MPC hardware and software. To avoid confusion, the terminology in this manual is based on the MPC parameter names. You will find the various terms explained in the Glossary at the end of this manual. We also used a uniform set of symbols to show topics of particular interest or significance: Information: Important or helpful information on a given topic. Hardware: How to use a software feature with your MPC hardware's controls.
Important Notes • Read the included Safety and Warranty Manual before using the MPC hardware. • Before getting started and connecting devices to the MPC hardware or turning the hardware on/off, make sure all devices are switched off. • Before connecting the MPC hardware to your computer, install the drivers and software. Visit akaiprompc.com to download the latest versions (recommended), or insert the included DVD. Refer to the Installation section for more information.
From a downloaded installer file: 1. Open the folder where the downloaded .zip file is located. 2. Double-click the file to extract it. 3. Double-click the MPC installer icon. This launches a special installation program. 4. Follow the on-screen instructions. Important: After installing the MPC software, you need to unlock the program on your computer. Please refer to Unlocking the MPC Software. Mac® OS X® From a DVD: 1.
Unlocking the MPC Software Follow these steps to unlock the MPC software before using it. 1. Connect your MPC hardware to a USB port on your computer. If you are using MPC Renaissance, connect it to a power source, too. 2. Power on the MPC hardware. 3. Open the MPC software. 4. In the dialogue box that appears, click Unlock Now. 5. Enter your information in the window that appears. 6. If your computer is connected to the Internet, click Unlock Now, and enjoy your MPC! 7.
MPC Hardware Overview This chapter explains the features and functions of your MPC hardware: the MPC Renaissance or the MPC Studio.
Navigation and Data Entry Controls 1. Display: This LCD shows all the information relevant to MPC Renaissance's current operation. Much of this information is also shown in the software. Use the Cursor Buttons to navigate through the display, and use the Data Dial, and -/+ buttons to adjust the currently selected setting/parameter. Use the Mode buttons to change what page is shown, and use the F-Buttons to change what tab is shown.
12. Pad Assign / Pad Copy: Press this button to assign a sample to a pad. In the display, the 4 x 4 grid that appears represents the 16 pads. Use the Cursor Buttons to navigate through the grid, and use the Data Dial or -/+ buttons to select a Program (when the Program field is highlighted) or a sample (when a pad is highlighted). Hold down Shift and press this button to copy the samples and parameters from one pad to another.
18. Browser / Save: Press this button to view the File Browser in the display. Hold down Shift and press this button to save the current Project (including its samples, Programs, Sequences, and Songs). 19. Prog Edit / Q-Link: Press this button to enter Program Edit Mode in the display and software. Hold down SHIFT and press this button to assign a parameter to a Q-Link Knob: use the Cursor Buttons to select the desired Q-Link Knob, then use the Data Dial or -/+ buttons to select the desired parameter. 20.
30. Program / Folder 3: Press this button to view only Program files in the File Browser. Hold down Shift and press this button to select the File Browser's Folder 3 shortcut. 31. Sample / Folder 4: Press this button to view only Sample files in the File Browser. Hold down Shift and press this button to select the File Browser's Folder 4 shortcut. 32. No Filter / Folder 5: Press this button to view all files in the File Browser.
I/O and Level Controls 43. Mic In / Phono In Switch: Use this switch to select the Mic In or Phono In jacks on the rear panel. If you are using a mic or other line-level audio source connected to the Mic In jacks, select Mic In. If you are using a phono-level device like a turntable connected to the Phono In jacks, select Phono In. 44. Rec Gain: Use this knob to adjust the gain of the incoming signal from the Mic In or Phono In jacks on the rear panel.
Rear Panel 9 9 14 12 10 11 13 6 7 2 8 16 16 16 16 15 15 5 4 1 3 1. Power Input: Connect a 12V DC, 2A power adapter (center pin positive) to this jack then into an electrical outlet. 2. Power Adapter Restraint: You can secure a power adapter cable to this restraint to prevent it from accidentally unplugging. 3. Power Switch: Turns MPC Renaissance's power on/off. 4.
11. Phantom Power Switch: This switch activates and deactivates phantom power. When activated, phantom power supplies +48V to both Mic In inputs. Please note that most dynamic microphones do not require phantom power, while most condenser microphones do. Consult your microphone's documentation to find out whether it needs phantom power. 12. Phono In: Connect these RCA inputs to an external sound source (e.g., a turntable, CD player, etc.). Make sure to set the Phono / Line Switch appropriately. 13.
MPC Studio Top Panel 3 13 4 1 2 5 16 16 16 16 17 12 6 6 6 6 6 12 18 19 29 30 31 24 25 26 27 28 33 34 35 36 37 12 12 6 22 15 21 5 47 14 10 8 23 5 7 32 11 46 43 43 45 44 44 20 41 42 40 38 39 20
Power and I/O 1. Computer 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 Studio to send/receive MIDI and audio data to/from the MPC software. 2. Power Switch: Turns MPC Studio's power on/off. 3. MIDI In: Use the included 1/8"-MIDI adapter and a five-pin MIDI cable to connect the MIDI Out of an optional external MIDI device to the MIDI In of MPC Studio. 4.
Pad and Q-Link Knob Controls 12. Q-Link Knobs: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one column of parameters at a time. Use the Scroll Knob above them to change which column or row of parameters they currently control. In modes where the display shows a "4 x 4" array of parameters, you will see an additional indicator on the top or left side of the array, indicating the currently controlled row/column.
17. Pad Assign / Pad Copy: Press this button to assign a sample to a pad. In the display, the 4 x 4 grid that appears represents the 16 pads. Use the Cursor Buttons to navigate through the grid, and use the Data Dial or -/+ buttons to select a Program (when the Program field is highlighted) or a sample (when a pad is highlighted). Hold down Shift and press this button to copy the samples and parameters from one pad to another.
23. Browser / Save: Press this button to view the File Browser in the display. Hold down Shift and press this button to save the current Project (including its samples, Programs, Sequences, and Songs). 24. Prog Edit / Q-Link: Press this button to enter Program Edit Mode in the display and software. Hold down Shift and press this button to assign a parameter to a Q-Link Knob, use the Cursor Buttons to select the desired Q-Link Knob, then use the Data Dial or -/+ buttons to select the desired parameter. 25.
35. Program / Folder 3: Press this button to view only Program files in the File Browser. Hold down Shift and press this button to select the File Browser's Folder 3 shortcut. 36. Sample / Folder 4: Press this button to view only Sample files in the File Browser. Hold down Shift and press this button to select the File Browser's Folder 4 shortcut. 37. No Filter / Folder 5: Press this button to view all files in the File Browser.
Quick Start / Tutorial This chapter should help you to familiarize yourself with some basic MPC features. To get the most out of this tutorial, we recommend reproducing each of the described steps. The MPC hardware's display reflects what it is controlling in the software, but due to space and character limitations, the hardware display is slightly different (e.g., parameter names may be abbreviated, the layout may be different or spread across multiple tabs, etc.).
Creating a Drum Kit Let's start by making a simple drum kit. The Browser display of the MPC hardware Hardware: 1. Press the Browser button and use Cursor Buttons to navigate to where your drum sounds are located: • Use the Up or Down Cursor Buttons to move through a list • Use the Right Cursor Button to enter a selected folder, • Use the Left Cursor Button to go to the previous folder. 2. To preview a selected sound, press the F3 button (Play).
Recording a Drum Sequence Let's record a drum Sequence. Hardware: 1. Press the Rec button to activate Record Mode. 2. To start the actual recording, press the Play button. The pre-count will count one measure before the software starts to record. We recommend recording only one sound (pad) at a time, especially if you are not familiar with playing on the pads. 3. Play a simple bass drum pattern. The note events you just recorded will automatically be placed in the grid (in this case, on 16th notes).
Organizing Samples and Editing Note Events We recommend doing some naming and editing before recording further. Let's use the software, which is easier for editing. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged in a Program. Let's rename the exisiting Program as we'll want to create more Programs later on. Rightclick Program 001 in the Project Information panel, and select Rename. Name the Program (e.g., Drums), and click OK.
Making Basic Sound Edits Let's make sure the samples are properly tuned and have good levels. Hardware: 1. Press the Prog Mix button to enter Program Mixer Mode. 2. Press the F1 button (Level) to control the volume for each pad. You can use the hardware's Q-Link Knobs as well as the corresponding faders in the software. Adjust the levels of each pad to suit your taste. 3. Press F2 (Pan) to control the stereo panning for each pad.
Recording 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 add a new Track. A Track is simply a layer of a Sequence; you can have multiple Tracks in a single Sequence (e.g., a drum Track, a bass Track, a piano Track, etc.), and they all play simultaneously when you play the Sequence.
Let's continue to set up the Keygroup Program: 1. Click the Program Edit tab to enter Program Edit Mode. Hardware: Press the Prog Edit button to enter Program Edit Mode. 2. In the Layer section, click the Layer 1 drop-down menu and select the bass sample you just loaded (you'll see your drum samples in this list, as well). Because you're working with a Keygroup Program instead of a Drum Program, this sample is now playable across all pads.
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 it a bit in the Filter section of the Program Edit menu. For this, let's use the MPC hardware. Hardware: 1. Press Prog Edit to enter Program Edit Mode, and press F4 (Flt Env) to enter the Filter page. 2. Turn Q-Link Knob 13 to select a filter for the Filter Type field.
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 in this chapter)! Click the Song tab to open Song Mode. Each of the Sequences you've created in this Project is assigned to a pad. Click and drag a pad with the desired Sequence onto the Sequence Playlist to the left of the pads.
Other Features Explained This chapter describes various advanced features. These sections explain how to perform these operations by using mostly the MPC hardware, but all of them are also possible in the software. For a fuller explanation of these features, please refer to their corresponding sections in the Operation (Software) chapter.
Drum Loops and 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 File Browser to locate a drum loop on your hard disk (the loop does not have to match the tempo of anything in the Project). Double-click the desired drum loop to add it to the current Program. Hardware: 1. Press the Sample Edit button to enter Sample Edit Mode. 2.
Hardware: Now, let's create a new Program containing all of these slices as individual samples. It will also automatically create corresponding note events to play back these slices sequentially. 1. Press F5 (Convert) to enter the Convert Slices page. 2.
Pad Muting and 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. The Pad Mute display of the MPC hardware Hardware: 1. Select your basic drum Track. 2. Press and hold the Shift button and press the Track Mute / Pad Mute button to enter Pad Mute Mode. 3. Press Play to play the Sequence. 4. Mute a pad by pressing it once. The muted pad will be lit red.
You can also mute entire Tracks by using the similar Track Mute function. The Track Mute display of the MPC hardware Hardware: 1. Press the Track Mute button to enter Track Mute Mode. 2. Press Play to play the Sequence. 3. Mute a Track by hitting the corresponding pad once. The muted pad will be lit red. You can mute multiple pads at the same time. 4.
Sample 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 Renaissance or to your computer's audio interface. MPC Studio users: This section describes recording using MPC Renaissance as your sound card. MPC Studio cannot be used in this way, but you can use a separate audio interface connected to your computer to record audio.
Sample Editing Select the sample in the Project Information section and right-click it. In the drop-down menu, select Edit. Sample Edit Mode will open. Hardware: 1. Press F2 (Trim) to enter Trim Mode. 2. Use Q-Link Knobs Q1, Q5, Q9, or Q13 to define a suitable start point for your sample. 3. Use Q-Link Knobs Q2, Q6, Q10, or Q14, to define a suitable end point for your sample. 4. To hear your edits, press Pad A15 to play the sample from the new start point to the new end point.
Automating Parameters with the Q-Link Knobs Automating various parameters is a good way to add some motion and dynamism to your Sequences. 1. In the software, click the Main Mode tab to open Main Mode. Hit a pad that has a sample assigned to it. 2. In the Q-Link section, click the Prg button. Turn Q-Link Knob Q1 to activate it for assignment. Click the Pad field and select the pad you hit earlier, and select the following settings: • In the Param field, select Filter Cutoff as parameter.
Operation (Software) This chapter explains the complete features and functions of the MPC software. Important: When using the MPC software as a plugin, its features and functions are very similar to how it is described in this chapter but with some notable differences, discussed in the Operation (Plugin) chapter.
General Features Adjusting the Controls Tip: If you use a computer mouse with scroll wheel, you can use it to affect some of these controls: place your mouse pointer over the control and use the scroll wheel to change it. If you hold down your keyboard's Shift key while doing this, you can increase the resolution. The MPC software uses the following types of control elements: Knobs To set a value, click the knob, hold the mouse button, and drag the knob up and down.
Switches Switches are represented by "LEDs." If a function is active, its LED will be lit red. To activate a function, click it. Any other LEDs in its set will be automatically deactivated. Buttons Click a button to activate or deactivate its function. Buttons are red when they are activated. Envelope Displays Click the respective "handle" of an envelope and drag into the desired direction to change an envelope parameter.
Program Types About Programs A Program is a file that contains (1) a list of all samples used and (2) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode lets you edit and assign samples. A single Project can hold a total of 128 Programs.
To load samples into a Drum Program, click and drag a sample onto the desired pad (in the pad display or its row in the grid) from one of the following locations: • the File Browser • the Project Information panel • your computer's Explorer (Windows) or Finder (Mac OS X) The sample will be assigned to the corresponding pad. Tip: By following the same process described earlier, you can also load an entire folder of samples into a Program by dragging the folder onto a pad.
Keygroup Program To create a Keygroup Program in the software: 1. Click the Main Mode tab to enter Main Mode. 2. In the Track Section, click the Type drop-down menu and select Keygroup. 3. If the Project does not contain a Keygroup Program yet, a new Keygroup Program will automatically be added to the Project. If the Project already contains a Keygroup Program, click the + button next to the Program dropdown menu. 4. Click the name in the Program drop-down menu, and enter an appropriate Program name.
In the software, click the Program Edit tab. With the Sample drop-down menus for Layer 2 to Layer 4, you can assign up to four samples (loaded into the Project Information beforehand) to create velocity layers or make other layer-dependent adjustments. Hardware: Press the Prog Edit button. Press F2 (Samples). With the Q9, Q5, and Q1 Q-Link Knobs, you can load additional samples to your existing one. These samples are placed in up to four Layers.
MIDI Program To create a MIDI Program: 1. 2. 3. Click the Main Mode tab to enter Main Mode. In the Track Section, click the Type drop-down menu and select Midi. If the Project does not contain a MIDI Program yet, a new MIDI Program will automatically be added to the Project. If the Project already contains a MIDI Program, click the + button next to the Program drop-down menu. 4. Click the name in the Program drop-down menu, and enter an appropriate Program name. Hardware: To create a MIDI Program: 1.
Plugin Program A Plugin Program lets you send your Tracks' MIDI data through a loaded plugin. This lets you route multiple Tracks through the same plugin instead of loading an instance of a plugin on every Track (which can be cumbersome and CPU-intensive). To turn a Track's Program into a Plugin Program: 1. In the software, click the Main Mode tab. 2. In the Track section, select the Track you want to route to a plugin. 3. Click the Type drop-down menu, and select Plugin.
Hardware: To turn a Track's Program into a Plugin Program: 1. Press Main to enter Main Mode. 2. Use the F3 (Track-) and F4 (Track+) buttons to select the Track you want to route to a plugin. 3. Use the Cursor Buttons to select the Type field. 4. Use the Data Dial or -/+ buttons to select Plugin as the Program type, and then press F5 (Do It) to confirm or F4 (Cancel) to cancel. 5.
Next, adjust the volume levels and panning of your Tracks' Plugin Programs: 1. In the software, click the Track Mixer icon. Channel strips for the Tracks will be on the left and for the Plugin Programs on the immediate right. Above each channel strip's Pan knob, you will see where its audio is routed. 2. Adjust the volume and panning of a Track's note events routed to the Plugin Program by adjusting that Track's volume slider or pan knob, respectively.
Hardware: To adjust the volume levels and panning of your Tracks' Plugin Programs: 1. Press Shift + Prog Mix / Track Mix to enter Track Mixer Mode. 2. Use the Cursor Buttons to highlight the Mixer field at the top of the display 3. Use the Data Dial or -/+ buttons to switch between Track and Plugin. Track shows the information for the Track channel strips, while Plugin shows the information for the Plugin Program channel strips. 4.
File Browser The File Browser lets you navigate through your computer's internal and external hard disks to load samples, Sequences, Songs, etc. Using filter buttons and user-definable folders, you can easily adapt the File Browser to your preferred workflow. You can also preview (audition) your samples before loading them. In the software, the File Browser is in the left area of the window.
To load a Project, double-click its corresponding .xpj file in the File Browser. To load a single sample or multiple samples into a Project, click and drag the files onto the Pad Bank Section, the grid, or the Project Information section. You can select a single file or multiple files in the following ways: • To select a single file in the File Browser, click it.
The Browser display of the MPC hardware With the Parent Directory arrow button (©, in the software, to the right of the file path) you can exit the current folder. Hardware: Use the left and right Cursor Buttons to enter or exit a folder. In the software, the Preview button is located below the File Browser. Hardware: Press the F3 (Play) button to preview any selected audio sample. Important: Only audio samples can be previewed.
Mode Tab Section The Mode Tab Section contains tabs that let you switch between the software modes as well as further control for selecting Programs, Sequences, Songs, etc. depending on the selected mode tab on the left. This section is always visible. The different modes are described in detail in the following sections of this chapter. To select a mode within the software, click the corresponding tab. Hardware: To select a mode, press the corresponding button.
Depending on the selected mode, some Mode Tab Section menus and functions can change, described here: Click the Program drop-down menu to select one of your Programs in the currently loaded Project. A Project can hold up to 128 Programs. The Program drop-down menu is available only when Program Edit or Program Mixer tab is selected. Hardware: Press the Prog Edit button and use the Data Dial or the -/+ buttons to select the desired Program. This can also be done in the Pgm field on the Main window.
Click the Screen Scroll button to switch between Scroll Mode and Page Mode. • Depending on the zoom setting, Scroll Mode will make the screen scroll along in the background, keeping the position marker centered. • Page Mode will make the grid display "turn over" to follow the position marker. Click the View button to switch between Split View and Full-Screen View. • In Split View, the software window will show the grid in the upper half and the mode-specific controls in the lower half.
Transport Section The Transport Section contains various transport controls (for playback and recording) as well as bar and tempo displays, the master level, and a CPU meter. This section is always visible. The CPU meter shows the computer CPU usage of the actual project. Keep in mind that an excessive use of synthesis functions such as filter and effects will increase the CPU usage. Tip: If the CPU meter is very high, software response may slow down.
You can change the Sequence's tempo by double-clicking the BPM value and entering a value with your computer's keyboard. You can also click and drag the BPM value up or down to increase or decrease it. Hardware: Use the Tap Tempo button to tap in the beats per minute of your desired tempo. An amber LED will blink, indicating the current beats. You can also press the Main button and use the Cursor Buttons to move to the Bpm parameter. Select the desired value by using the Data Dial or the -/+ buttons.
Level controls the software's master output level. MPC Renaissance users: The software's Level knob controls the volume level of the audio before the MPC Renaissance's Main Volume dial. The audio will then be sent out of the Stereo Outs on the rear panel. The Vintage display directly below the output level meter indicates the selected emulation mode. MPC Renaissance: Press the Vintage Mode button to switch between the different audio quality emulations.
The Grid The grid is where you record, program, and edit your Sequences and arrange your Songs. The grid is visible in Main Mode, Program Edit Mode, Program Mixer Mode, Pad Mute Mode, and Step Sequencer Mode. Furthermore, the grid has two different appearances, depending on the selected Program type; Drum Programs appear one way while Keygroup Programs, MIDI Programs, and Plugin Programs appear another way. Hardware: Press the Shift + Window / Full Screen buttons to enlarge the grid.
In the top-left corner of the grid are two buttons to switch between Draw Mode and Select Mode: • By default, Draw Mode is active, indicated by the Pencil Tool icon. You can draw notes by clicking the corresponding position in the grid. You can also use it to draw automation curves in the velocity/automation lane underneath the grid. • The Select Mode is indicated by the Select Box icon and lets you select one or more notes by drawing a frame around them. Selected notes will have a white border.
Hardware: • Press the Main button and use the Cursor Buttons to navigate to the Trk field. Use the Data Dial or the -/+ buttons to select the desired Track. You can also use the F3 (Track-) or F4 (Track+) buttons. • To change the number of bars, navigate to the Bars parameter. • To adjust the Time Correct and Swing, press the F1 button (T.C.) and use the Cursor Buttons to navigate to the Note field or Swing field. Use the Data Dial or the -/+ buttons to set the desired value.
Grid for Keygroup Programs, MIDI Programs, and Plugin Programs When a Keygroup Progam, MIDI Program, or Plugin Program is selected, the grid looks like this: The only difference from the Drum Program view is the vertical miniature keyboard ("piano roll") in the left grid window section. Click a key to select all note events for that note. You will also hear the note assigned to that key. Everything else works exactly as in a Drum Program.
Entering and Editing Note Events You can easily insert note events and data with your computer mouse. Hardware: Press the Rec button to record-arm the software, and press the Play or Play Start button when you're ready to record. The metronome will pre-count one measure before the recording starts. Hit the pads to record note events in the Sequence. Press the Stop button when you're finished recording.
• • • Click and drag a note event to move it to another position (when multiple note events are selected, you can move them all simultaneously). You can position note events only on quantization values defined by the set Time Correct value (indicated by vertical lines in the grid), but if you hold down your keyboard's Shift key while moving a note event, you can drag it to any position you like, regardless of the selected Time Correct value.
Recording/Entering and Editing Automation In the software, follow these steps to record automation data: Tip: Whenever possible, use your MPC hardware (especially the Q-Link Knobs) when recording automation data for faster results. 1. Click the Main Mode tab to enter Main Mode. 2. Click and move a Q-Link Knob so that it appears in the QLink display in the Q-Link Section. 3. In the Q-Link Section: If FX is selected, click the Effect drop-down menu to select an effect (which must be already loaded).
• Use the Select Box Tool (Select Mode) to select several adjacent anchor points for simultaneous editing. • You can add multiple automation parameters using this procedure. Software Menus Some of the software's menu items let you access features that cannot be accessed with the MPC hardware. Important: • The software menu organization differs between Windows and Mac OS X operating systems. • When loaded as plugin, the Menu button is located to the left of the Main Mode tab.
Save Current Sequence saves only the current Sequence. Export lets you export your Project or Sequence data in various formats: MPC formats, a standard MIDI file, a single Project Archive file, or as an audio mixdown file. Select the desired option from the submenu. • MPC formats: o As MPC1000/MPC2500 Seq exports the current Sequence so it can be read by an MPC1000 or MPC2500. o As MPC1000/MPC2500 Prg exports the current Program so it can be read by an MPC1000 or MPC2500.
o File format lets you select wav, aiff, or mp3 as the exported file format. For WAV and AIFF files, you can select a Bit depth of 8-bit, 16-bit, 24-bit, or 32-bit, floating point. For MP3 files, you can select a Bitrate of 128 kbps, 160 kbps, 192 kbps, or 320 kbps. o Sample rate lets you select from 44.1 kHz, 48 kHz, 88.2 kHz, or 96 kHz. In most cases, we recommend selecting 44.1 kHz. o Click Export to open a window where you can enter a file name and set the save location.
Delete Unused Samples deletes any samples not assigned to a pad from the Project. Important: The samples will be deleted immediately from the project. The software will not ask for confirmation or allow you to cancel, but you can undo this action (i.e., with the Undo command or hardware button), if needed. Tip: You can delete unusued samples by clicking the trash can icon in the upper-right corner of the Project Information section, as well.
Preferences opens the Preferences window, which contains many customizable elements of the software. Click the corresponding tab on the left to select it (e.g., MIDI or Sequencer). Click the OK button to close the Preferences window. Preferences will be automatically saved. Mac OS X users: Preferences is located in the MPC menu. • Preferences: Audio Tab o Output and Input: Click these drop-down menus to select an audio hardware driver that is installed in your computer system.
• Preferences: MIDI Tab o Active Midi Inputs: These checkboxes represent the active installed MIDI inputs on your computer system. Hardware: When the MPC hardware is connected and powered on, the available ports as well as the MPC public port are displayed. o Midi Mapping: Click each drop-down menuy to define the Midi Out Port A to D. Here, you can select the MIDI output your Sequencer data is routed to.
• Preferences: Auto Load/Save Tab o Auto Load File: Click the … button to select a Project (.xpj) or Program (.xpm) on your hard disk to load automatically anytime the software opens. Tip: You can "bypass" or ignore the template by opening the MPC software while holding down your computer's Shift key. This will open an empty Project instead of your selected Auto Load file. o Template File: Click the … button to select a Sequence template to load automatically anytime you create a new Sequence.
o Record Pad Aftertouch Events: If this option is enabled, pad aftertouch data (from MPC hardware's pressure-sensitive pads) can be recorded. o Place Events recorded during Count-In at start-point: If this option is enabled, hitting a pad during the recording's pre-count will record that note event at the start of the recording. (This is the MPC3000 worked.
• Preferences: Sync Tab Here, you can set various parameters related to the software's synchronization: o Receive: Click this drop-down menu to select whether or not the software receives MIDI Clock or MIDI Time Code (MTC) from the host software (when MPC is used as a plugin) or from an external device (connected to the MIDI In port of the MPC hardware).
• Preferences: Other Tab Here, you can set various other MIDI and audio parameters. Hardware: Press Shift + Song and then press F1 (Other) to open the Other tab. Use the Cursor Buttons to select the corresponding option, and use the Data Dial or -/+ buttons to change it. Not all options in the software's Other tab are available through the MPC hardware display.
Metronome offers the settings for the metronome. • Off disables the metronome. • Play enables the metronome sound during playback only. • Record enables the metronome sound during recording only. • Record + Play enables the metronome to happen in both Record and Playback Modes. Rate lets you to select the metronome click's time division: 1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, 1/32 or 1/32T ("T" stands for "triplet").
• Strength: Click and drag this field up or down to set how strictly notes will be quantized (i.e., shifted toward the quantize value). Lower values move notes a little bit towards the closest quantize value, resulting in a less mechanical feel than a strict quantization (a higher value). • Events: Click this drop-down menu select the target range for the time correction. You can apply the time correction to All note events or to just the Selected ones.
Main Mode Main Mode gives you an overview of the most-used functions. To enter Main Mode, click the Main Mode tab in the Mode Tab Section of the software window. Hardware: Press the Main / Track button. Important: The MPC hardware cannot display as many parameters at the same time as the software. Some of the MPC hardware functions are located on different pages than in the software. Q-Link Section Here, you can set the functionality of the Q-Link Knobs.
Hardware: • Access the Q-Link Section by pressing Shift + Prog Edit / Q-Link. • Touch the top of a Q-Link Knob to select it. • Press F1 (Prog Q) to switch to Program Mode. Press F2 (FX Q) to switch to FX Mode. • Press F4 (Edit) to change further parameters, described later in this section. • Use F5 (Params) to see what parameter each of the 16 Q-Link Knobs controls. Pressing F6 (Values) displays the parameter value of each Q-Link Knob.
3. Click the Pad drop-down menu and select the desired pad you want to control. We recommend using Q1 for Pad A01, Q2 for Pad A02 etc., so your controller mapping is easy to remember. 4. Click the Param (Parameter) drop-down menu and select the parameter you want to assign to the Q-Link Knob: o Sample Layer allows you to switch between Sample Layers 1 to 4. To use this function, each layer must have an assigned sample with distinct (non-overlapping) velocities.
FX Mode Click the FX button to activate the Q-Link Knobs' FX Mode. To assign a parameter to a Q-Link Knob in the software: 1. Click a Q-Link Knob and move the mouse to select it for assigning. The Qlink field will show the number of the selected knob. Hardware: Touch the top of a Q-Link Knob to select it. 2. Click the Trig drop-down menu and select Min or Max.
Sequence Section This section gives you an overview of parameters relevant to the current Sequence. In the software, click the Sequence drop-down menu and select a Sequence or click the X icon in the lower-right corner of the drop-down menu and select an unused Sequence from the list that appears. Hardware: Move the cursor to Seq and use the Data Dial or the -/+ buttons to select the desired Sequence. Click the Loop button to switch the Sequence's loop function On or Off.
Click the Swing field to change the groove of your Sequence. Values range from 50% to 75% and let you "shuffle" your beats—from subtle to extreme. Hardware: Press F1 (T.C) to locate the Swing parameter. It can be changed by using the Data Dial or the -/+ buttons to set the desired value. Track Section This section gives you an overview of various parameters regarding the selected Track. In the software, click the Track drop-down menu and select the desired Track.
Click the Type drop-down menu to select what kind of Program the Track will use: a Drum Program, Keygroup Program, Midi Program or a Plugin Program. Track Section for Drum Programs and Keygroup Programs Click the Program drop-down menu to select which Program you want to use. To create a new Program, click the + icon next to the drop-down menu.
Hardware: 1. Use the Cursor Buttons to select Port and then use the Data Dial or -/+ buttons to select the desired MIDI port. This is where the Sequence data will be sent. 2. Use the Cursor Buttons to select Ch and then use the Data Dial or -/+ buttons to select the MIDI channel (from 1 to 16) you want to send MIDI messages over. 3. Use the Cursor Buttons to select PC and then press the Window button. 4.
If you want to add a new plugin to the Project, click the + icon next to the Program drop-down menu. A new Program name (Plugin ###) will appear in the Program drop-down menu (you can click it to enter a new name for it). Then, click the Plugin drop-down menu, select the desired plugin from the list, and click Select to select it or Close to cancel. Click the e button to open the user interface of the loaded plugin.
Project Information Section The Project Information section shows the Project name as well as all Programs and samples loaded into the software's current project. You can simply drag and drop a sample from the Project Information section onto any pad to assign it. How a sample can be played and edited depends on the Program. Refer to the Program Types section for more information. The Program column displays all available Programs in the Project.
Hardware: Press the Window button to open the Edit Current Program display page: • Press F2 (Delete) to delete the selected Program. To avoid accidental deletion, a window opens for you to confirm or cancel the operation. • Press F3 (New) to create a new Program. Use the Data Dial or -/+ buttons to select the type of Program you want to create, and then press F5 (Do It) to confirm or F4 (Cancel) to cancel. • Press F4 (Copy) to make a copy of the selected Program.
Program Edit Mode Program Edit Mode contains all parameters for editing your Programs: • For Drum Programs and Keygroup Programs, this mode includes the parameters of each Layer as well as all synthesis parameters and insert effect settings. These two Program types will have different parameters due to how they are set up (Drum Programs have fewer parameters than Keygroup Programs).
Drum Programs: To select a Drum Program for editing, select the desired pad first. Do one of the following: • In the software, click the desired pad in Main Mode. • In the software, click the pad row in the grid in Program Edit Mode. • On your MPC hardware, hit the desired pad. Master Section In the Master Section, you can set the playback mode and tuning for the overall Program. Mode sets the playback mode for the Program's pads. In Mono Mode, only one pad will sound at a time.
Mute Target Section (Drum Programs Only) For the currently selected pad, you can select up to four pads as Mute Targets. When the pad is played, it will immediately silence its Mute Targets. Click each Pad drop-down menu to select the desired Mute Target. Hardware: To select the Mute Target pads, press the F1 button (Master). Use Q-Link Knobs Q1 – Q4 for selecting the corresponding pads. This function is only available in Drum Programs.
Sample Play determines how much of the sample is played: • One-Shot: The entire sample will play from start to end. Use this when you want to play short sounds. • Note-On: The sample will play only as long as the pad is held. This is better for longer samples so you can control a sound's duration by pressing and holding its corresponding pad. Hardware: To edit the Keygroup Play Modes parameters, press the F1 button (Master). Use Q-Link Knobs Q9 – Q11 for direct access of all three parameters.
Pan controls the overall panning of the loaded sample(s) 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. Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.
Semi lets you transpose the selected layer 12 up to semitones up or down. Fine provides fine-tuning of each layer by fractions of a semitone. Level lets you adjust the each layer's volume, letting you control the "balance" of the samples assigned to the pad. Hardware: To edit the first 16 Layer parameters located on the left of the vertical separation lines in the Layers section, press the F2 button (Samples). Use the Q-Link Knobs for direct access of their respective Edit Layers parameters.
The virtual keyboard (available for Keygroup Programs only) shows the Note Range, which can be set in the Key Group section. You can also drag the left or right range with your computer mouse. Click the red bar above the virtual keyboard to set the overall key range for the selected Keygroups. No. KG (Number of Keygroups) lets you create up to 128 Keygroups within a Keygroup Program. This is very useful when working with multi-samples.
Filter Section The Filter Type drop-down menu lets you select a filter for the selected pad. See the Filter definition in the Glossary for an explanation of the available filter types. Cutoff controls the cutoff frequency for low-pass and high-pass filter types or the center frequency for band-pass and band-stop filter types. Reso controls 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. The knobs control the envelope shape or timevariant modulation output. Adjust envelope's influence on the filter frequency with the Env knob. See the following Anatomy of an Envelope below to learn about the envelope parameters. The Amp Envelope controls affect level changes over time. The knobs control the envelope shape or time-variant modulation of a sound's level.
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, the software offers two envelope types comprised of separately controllable parameters. Click the AD box to check or uncheck it, letting you switch between two envelope types: AD (checked) or AHDS (unchecked). For Keygroup Programs, the software offers only AHDS envelopes.
Pad Play Modes Section (Drum Programs Only) Here, you can set the behavior for each pad's samples in a Drum Program. Mute Groups let you assign the selected pad to one of the 32 available groups. When pads assigned to the same Mute Group receive MIDI notes, the last pad played will silence all other pads in that Mute Group. Tip: This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.
Velocity Sensitivity Section Here, you can set how much velocity affects various sound parameters: Pitch, Filter Envelope Attack (Atk), Amplifier (Amp) and Panning (Pan). When you hit a pad softly, only minimal modulation is applied. When you hit it harder, the modulation amount also gets stronger depending on the setting of the corresponding dial. Hardware: To edit the Velocity Sensitivity parameters, press the F5 button (Lfo Mod). Use Q-Link Knobs Q13 – Q16 for direct access of all 4 parameters.
The LFO modulation Destinations determine the amount of effect of the LFO has on Pitch, Filter Cutoff frequency (Filter), Volume (Amp) and Panning (Pan). Hardware: To edit the LFO parameters, press the F5 button (Lfo Mod). For Drum Programs, use Q-Link Knobs Q1 – Q7 for direct access to all seven parameters. For Keygroup Programs, use Q-Link Knobs Q5 – Q12 for direct access to all seven parameters. (Remember that a Drum Program uses different controls than a Keygroup Program.
Pad Insert Effects Section Here, you can select up to four insert effects for each pad. You can use various effects included in your MPC software as well as other VST and AU plugins installed on your computer. Tip: A list of all available MPC software effects and their parameters is in the Effects and Parameters chapter of the Appendix. In the software, load a pad insert effect by following these steps: 1. Click the button in the upper-right of the panel of the panel so it reads On. 2.
Program Edit Mode for MIDI Programs and Plugin Programs For MIDI Programs and Plugin Programs, Program Edit Mode looks a bit different. You will see an overview of all available parameters of your loaded virtual instrument, including a corresponding rotary knob for editing. We recommend editing a virtual instrument by using its own graphical user interface, though. To assign a parameter to one of the controls, click the drop-down menu above the corresponding controller and select it from the drop-down menu.
Program Mixer Mode In Program Mixer Mode, you can set the levels, stereo panning, and effects for a Program: • For Drum Programs, this mode shows a channel strip for each individual pad (of 128). • For Keygroup Programs, MIDI Programs, or Plugin Programs, this mode shows a channel strip for one channel only. For more general information on how these Programs differ, please see the Program Types section. In the software, click the Program Mixer tab in the Mode Tab Section.
Routing In the software, to set the routing for a channel: 1. Click Route button of the channel. 2. Click the drop-down menu just above the Pan knob. 3. Select the desired output (e.g., Out 3,4) to route the audio signal directly to this output. (You need an audio interface that is equipped with more than two outputs.) Hardware: To set the routing for a channel: 1. Press F6 (Route). 2. Use the Cursor Buttons to select a pad. You can use the Pad Bank buttons to select different sets of 16 channels.
Panning In the software, click the channel's Pan knob and drag it up or down to set the position. To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window. Hardware: To set the panning for a channel, press F3 (Pan) and use the corresponding Q-Link Knob for editing. You can use the Pad Bank buttons to select different sets of 16 channels. Mute In the software, click the channel's Mute button (M) to mute it.
Hardware: To load a pad send effect and set its return level: 1. Press Shift + Seq Edit / Effects. 2. Use the Cursor Buttons to select the desired slot. 3. Use the Data Dial or the -/+ buttons to open another page to select an effect. Click F4 (Select) to load it, or click F3 (Back) to close the page. 4. Use the Cursor Buttons to select the effect's Level parameter. 5. Use the Data Dial or -/+ buttons to set the return effect level.
Hardware: To load pad insert effects: 1. Enter Program Mixer Mode by pressing the Prog Mix button. 2. Press F5 (Insert) to view the pads' channels' insert effect slots. 3. Use the Cursor Buttons to select the desired pad. (To show another set of 16 pads, use the Pad Bank buttons to select another bank.) 4. Use the Data Dial or the -/+ buttons to open another page to select an effect. Click F4 (Select) to load it, or click F3 (Back) to close the page. 5.
Track Mixer Mode In Track Mixer Mode, you can set the levels, stereo panning, and effects for each Track. In the software, click the Track Mixer tab in the Mode Tab Section. Hardware: To enter Track Mixer Mode, press Shift + Prog Mix / Track Mix. While Program Mixer Mode lets you control the mix of individual pads and sounds within a Program, Track Mixer Mode lets you mix your Tracks within a Sequence. Up to 64 Tracks are available.
You can show or hide unused Tracks' channel strips (i.e., those with no note events) and/or plugins through which your tracks are routed: • To show or hide the Send Effects and Master FX panels, click the downward arrow icon to the left of the channel strips or in the upper-left corner of the grid. • To show or hide unused Tracks' channel strips, click the + icon to the left of the channel strips or in the upper-left corner of the grid.
Remember: You have to specify where your plugins are located. This can be done in the software's Preferences. See the Preferences: Plugins Tab section for more information. • If your Project already contains the desired plugin, click the Program drop-down menu to select it. In the window that appears, you can click checkboxes to re-order your list of plugins: Sort by type or Sort by manufacturer. Click Select to load the selected plugin or Close to cancel the operation.
The Edit Program window in the Main Mode section in the display of the MPC hardware The New Program window in the Main Mode section in the display of the MPC hardware From here, you can route Tracks to different plugins by clicking the downward arrow (T) of the drop-down menu above the Pan knob. Make sure you have already loaded the plugins so you can select them. To add new plugins to the Project see the earlier Routing Tracks to Plugin Programs part of this chapter.
Levels In the software, click the channel fader and drag it up or down to set the level. To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window. Hardware: To set the level for a channel, press the F2 button (Level) and use the corresponding Q-Link Knob for editing. You can use the Pad Bank buttons to select different sets of 16 channels.
Note: MIDI Programs' and Plugin Programs' levels will initially appear as ?. This indicates that the Program is not sending any volume changes, which allows certain plugins to load with their optimal default settings. If you copy a Sequence, the level values will be copied with that Sequence. If you move to a new Sequence and put the same MIDI Program or Plugin Program on a new Track, though, these values will appear as ?.
Mute and Solo In the software, click the channel's Mute button (M). To view more mixer channels, use the scroll bar under the channel faders at the bottom of the window. Hardware: To mute a channel, press F4 (Mute) and press the top of the corresponding Q-Link Knob to toggle between mute and mute off. You can use the Pad Bank buttons to select different sets of 16 channels. To solo a channel, click its Solo button (S), which will mute all other channels. You can solo as many channels as you like.
3. 4. 5. Use the Data Dial or the -/+ buttons to open another page to select an effect. Click F4 (Select) to load it, or click F3 (Back) to close the page. Use the Cursor Buttons to select the effect's Level parameter. Use the Data Dial or -/+ buttons to set the return effect level. After loading a send effect and setting its return level, set the level the Track sends to it: 1. Enter Track Mixer Mode by pressing Shift + Prog Mix / Track Mix. 2. Press F4 (Send) to view the channels' send effect levels.
4. Use the Data Dial or the -/+ buttons to open another page to select an effect. Click F4 (Select) to load it, or click F3 (Back) to close the page. 5. You can repeatedly press F5 (Insert) to cycle through the four available insert effect slots. The small squares below the tab indicate the currently selected slot. Master Effects Tip: See the Overview section of the Effects chapter to learn more about how effects work in the software. To load and edit a Master insert effect: 1.
Track View Mode Track View Mode gives you an overview of the Tracks of each Sequence. Use this mode to edit Tracks and Sequences simultaneously. Tip: Use Track View Mode want to switch quickly between Tracks in a Sequence. This allows for a faster editing workflow. In the software, click the Track View tab in the Mode Tab Section. Hardware: To enter the Track View mode, press Shift + Main / Track. The upper half of the window shows narrow versions of the Tracks in that Sequence.
Track View: Drum Program Track View: Keygroup Program 124
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. In the software, click the Next Seq tab in the Mode Tab Section. Hardware: To enter Next Sequence Mode, press the Next Seq button. Triggering Sequences During playback, select a Sequence to play next simply by hitting the corresponding pad.
Sequence Playlist The Sequence Playlist window in Next Sequence Mode shows a liststyle overview of all used Sequences in your Project: • The Sequence column shows the name of the Song's Sequences. • The Length column shows the bar length of a Sequence. • The Tempo column shows the tempo of a Sequence in beats per minute. Pad Bank Section In this section, every pad is assigned to a Sequence, starting from Pad A01 with Sequence 1 and ascending from there.
Next Sequence Section During the playback of a Sequence, this section gives you the following options: • Click Next Bar to change the Sequence at the beginning of the next bar. This lets you select the next Sequence without having to hit a pad or button in perfect time. • Click Sudden to switch to the next Sequence immediately— before the software has finished playing the current Sequence. This is useful in live performances if you need to switch to the next Sequence instantly at a certain cue.
When playback is stopped, this section gives you the following options: • Copy to Song opens a drop-down menu to select a Song the Sequence playlist is copied to. To read more about Song Mode, please see the Song Mode chapter. • Erase Song erases the active Sequence Playlist. Hardware: Press F1 (To Song) to copy your changes directly into a Song. In the Copy to Song window that appears, use the Data Dial or -/+ buttons to select the Song number where you want to copy your changes.
Sample Record Mode Sample Record Mode lets you record audio samples to use in your Tracks and Sequences. This mode is divided in two main parts: • the Waveform Display (which shows the waveform of a sample after the recording process) • the Record Control section (which includes the controls). Important: To record audio, you need to connect an audio source to your MPC Renaissance or to your computer's audio interface.
Setting Up to Record with MPC Renaissance The following example describes the the sample recording procedure using the MPC Renaissance hardware. Hardware: 1. Make sure to reduce the volume levels of your audio source and speakers/headphones/monitors before you make any connections to avoid "pops" or feedback. 2. Connect your audio source (e.g., a microphone, instrument, etc.) to the Mic In jacks of your MPC Renaissance.
Waveform Display The Waveform Display shows the entire waveform of your recorded sample with a timeline at the top. While this is just for reference during in Sample Record Mode, it is the focus of Sample Edit Mode. Please see the Sample Edit Mode section to learn about editing your recorded samples.
Record Control Section The Record Control section offers all the relevant controls for recording. Threshold In Record Mode, the software automatically starts recording when the level of the incoming source exceeds the Threshold (Thresh). If you set the threshold too high, the recording may not start when you play the input source, or the start of the material you wanted to record may be missing. If you set the threshold too low, the recording may start too early, before you play the external source.
Input Source The Input Source parameter defines whether you are going to record an external audio signal (External) an internal signal from the software (Resample). A Resample recording does not require an audio connection because the source is within the software and is therefore recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by hitting the corresponding pads simultaneously.
Sample Rec and Stop Click Sample Rec to record-arm the software, or click Sample Stop to stop the recording process. After clicking Sample Rec, the recording will start once the incoming audio level exceeds the Threshold parameter. If you do not click Stop, recording will continue to the end of the previously set sample length. Hardware: 1. To start recording, press F6 (Record). 2. After that, the recording will start once the incoming audio level exceeds the Threshold parameter. 3.
Project Information Section This section is identical to the Project Information Section in Main Mode. For more information, please see the Project Information Section part of the Main Mode chapter. Newly recorded samples will be shown in the Sample area of Project Information. To use them in your production, you must load them into Programs first.
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. In the software, click the Sample Edit tab in the Mode Tab Section. To select a sample to edit, click the Edit Sample drop-down menu in the left section below the waveform display and select a sample from the Project. Alternatively, you can click and drag a sample from the Project Information section onto the Waveform Display. You can also right-click a sample in the Project Information section and select Edit.
Waveform Display The Waveform Display is divided into two sections: • The top of the display shows an overview of the entire sample waveform. A shaded rectangle outlines the currently shown part of the sample. • The main part of the display shows the "active" section of the sample waveform. Use the scroll bar under the waveform to move through it. To move the view, click and drag the shaded rectangle in the overview. To zoom in, double-click the shaded rectangle in the overview.
In the main Waveform Display, a start point and end point are marked by green lines. These two points define the portion of the sample data which will be played. Click and drag either of these lines to move it. The most recently moved line will be red instead of green. Tip: A recorded sample may have some silence at the beginning or end, which makes it difficult to time it correctly in a musical context. Fix this by adjusting the start point.
Hardware: • To adjust the start point of the sample, use Q-Link Knobs Q13, Q9, Q5, or Q1. The smaller the QLink Knob number, the more precise the adjustment of the start point. • To adjust the end point of the sample, use Q-Link Knobs Q14, Q10, Q6, or Q2. The smaller the QLink Knob number, the more precise the adjustment of the end point. • To adjust the loop point of the sample, use Q-Link Knobs Q15, Q11, Q7, or Q3. The smaller the QLink Knob number, the more precise the adjustment of the loop point.
Pad Section You can use the pads to play certain parts of the selected sample, regardless of the selected Pad Bank. Trigger the following playback options by hitting the corresponding pad: • Play Loop (Pad 13) plays the sample repeatedly from the loop point to the end point. • Play Sample (Pad 15) will play the whole sample as it has been edited. You can also click the Waveform Display to activate this function. • Play All (Pad 16) plays the whole sample regardless of any edits.
Settings Section This section lets you edit various parameters affecting playback and loop functions. In the software, edit the start point (Start), end point (End), or loop point (Loop Start) by double-clicking the number in the field, and use your computer keyboard to enter a value. Hardware: Edit the start point (Start), end point (End), or loop point (Loop) by using the Cursor Buttons to select the field and then using the Data Dial or the -/+ buttons to select a value.
Hardware: • Press F4 (Loop) to activate the loop function, which will repeat the part of the sample between the loop point and the end point. • Press F3 (0 Snap) to activate the snap-to-zero function. For easier sample editing, the software will "force" you to place a start point or end point only at "zero-crossings." This can help to avoid clicks and glitches when playing a sample.
Hardware: 1. Press F6 (Edit) to open the Process Sample page. 2. Use the Data Dial or the -/+ buttons to select the desired editing option (described below) in the Function field. Some options have some additional parameters—use the Cursor Buttons to select them and the Data Dial or -/+ buttons to adjust them. 3. To execute a selected option, press F5 (Do It), or cancel your changes by pressing F4 (Cancel).
• • • • • • • o Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end. o Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end. Fade Out sets a fade-out between the start point and end point of the sample. The following types are available: o Linear fades the audio out with a linear curve—a straight line between the start and end.
Project Information Section This section is identical to the Project Information Section in Main Mode. For more information, please see the Project Information Section part of the Main Mode chapter. Newly recorded samples will be shown in the Sample area of Project Information. To use them in your production, you must load them into Programs first. Chop Mode This section describes several functions unique to Chop Mode, in contrast to Trim Mode.
Edit Section in Chop Mode In the software: • Use Q-Link Knobs Q13, Q9, Q5, or Q1 to adjust the start point of the sample. The smaller the Q-Link Knob number, the more precise the adjusting of the start point. • Use Q-Link Knobs Q14, Q10, Q6, or Q2 to adjust the end point of the sample. The smaller the Q-Link Knob number, the more precise the adjustment of the end point. • Use Q-Link Knob Q15 to select a slice for editing.
Pad Section in Chop Mode In Chop Mode you can use the pads to play the sample in the following ways: • Play Loop (Pad 13) plays the sample from the loop point to the end point repeatedly. • Play All (Pad 16) plays the whole sample regardless of any editings. • When Audition in the Settings section is activated, the pads can be used to play the created slices. Read more about this in the following Settings in Chop Mode part of this chapter.
• When Audition is activated, you can use the pads can to play the different slices. Each slice is assigned to a pad automatically, starting from Pad A01 with Slice 1 and ascending from there. If your sample contains more than 16 slices, use the Bank buttons to switch through the pad banks to view all playable slices. Playing a slice will also select it. • With Link Slices activated, changing the start point of a slice will also change the end points of the previous slice.
Chop To Section in Chop Mode This section determines the slicing process. You can select between three slicing modes: • Threshold uses an adjustable detection algorithm that derives the number of regions created from the volume levels present in the sample. Click and drag the Threshold field up or down to set the threshold level. The higher the selected value, the more slices will be created. Click and drag the Min Time (Min Slice Time) field up or down to set the minimum length of a slice in milliseconds.
Process Section in Chop Mode This section gives you various editing options for the selected sample. In the software, click the desired sample editing option (described below). A new window will open (which may have some additional parameters). To execute a selected option, click Do It, or cancel your changes by clicking Cancel. Tip: When the new window is open, you can click the Function field to select another edit option, if desired. Hardware: 1. Press F6 (Edit) to open the Process Sample page. 2.
• • Sliced Samples creates individual samples from the slices of the current sample. If Crop Samples is activated, each slice results in a new sample. If Create New Program is activated, you will create a new Program in which each slice results in a sample and is automatically assigned to a pad. (If Create New Program is selected, you also get the option to Create Events.
Project Information in Chop Mode This section is identical to the Project Information in Trim Mode.
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 of which can have an assigned Sequence as well as the number of times that Sequence will repeat. In the software, click the Song tab in the Mode Tab Section. Hardware: To enter Song Mode, press the Song button.
Sequence Playlist Section The Sequence Playlist Section (to the left of the pads in the software) is the list of the steps of a Sequence. Each step in a Song has: • an assigned Sequence • the tempo of the Sequence • the number of bars in the Sequence • how many times the Sequence plays You can add a Sequence to the Sequence Playlist by clicking and dragging from a pad and dropping it onto the list.
Pad Bank Section In this section, all Sequences are assigned to a pad. Unused empty Sequences are marked (unused). You can use the Pad Bank buttons to show the Sequences assigned to pads in other banks. You can easily click and drag Sequences from this section and drop them onto the Sequence playlist. You can also click and drag Sequences from the pads and drop them onto the workspace in the upper half of the window, if you prefer working in a horizontal arrangement.
Edit Step This section contains controls to add or delete steps from the Song. Click Insert Step to insert the selected Sequence (indicated by the lit pad in the Pad Bank section) in the Sequence Playlist. Hardware: Press F6 (Insert) to insert a Sequence under the selected one. Click Delete Step to delete the selected step from the Sequence Playlist. Hardware: Press F5 (Delete) to delete the selected Sequence. Step Section This section contains information about the current step in the Sequence Playlist.
Project Information Section This section is identical to the Project Information Section in Main Mode. For more information, please see the Project Information Section part of the Main Mode chapter.
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a Program or set Mute Groups for each pad. In the software, click the Pad Mute tab in the Mode Tab Section. Hardware: To enter Pad Mute Mode, press Shift + Track Mute / Pad Mute. Pad Mute You can mute or unmute individual sounds (on a single Track) in real time by hitting 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.
Hardware: 1. Press F1 (PadMute) to activate Pad Mute. 2. The 16 blocks in the display represent the 16 pads of the current bank. Hit a pad to mute or unmute its assigned sound. Use the Pad Bank buttons to switch between the 16 banks, if necessary. • Muted pads are lit red; unmuted pads are lit yellow. Unused pads do not show a sample name. The Pad Mute section in the display of the MPC hardware Time Correct lets you quantize Pad Mutes.
Pad Group The Pad Group feature extends the concept of Pad Mutes: you can mute or unmute multiple pads (on a single Track) by hitting 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. In the software, do the following to use Pad Groups: 1. Click the Pad Group button in the Mute Section to activate it. 2.
Project Information Section This section is identical to the Project Information Section in Main Mode. For more information, please see the Project Information Section part of the Main Mode chapter.
Track Mute Mode Track Mute Mode lets you easily mute Tracks within a Sequence or set Track Mute Groups to use with the pads. In the software, click the Track Mute tab in the Mode Tab Section. Hardware: To enter Track Mute Mode, press the Track Mute button.
Track Mute Mode You can mute or unmute individual Tracks in real time by hitting the pads. 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 Track Mixer Mode. In the software, do the following to use Track Mute: 1.
Time Correct lets you quantize Track Mutes. This is useful when you want your mutes to line up with a specific time division. Click the Time Correct drop-down menu and select a value from 1/16th (sixteenth notes) to 2 bar (2 bars). For example, with Time Correct set to 1 bar, your mutes will always align with the beginning of the measure immediately after you press the pad. Hardware: Press F4 (Time Div) and use the Data Dial or -/+ buttons to edit the Time Correct value. Press F5 (T.C.
Hardware: 1. Press F2 (TrkGroup) to activate Track Group. 2. Hit a pad to select it. Use the Pad Bank buttons to switch between the 16 banks, if necessary. 3. Use the Data Dial or -/+ buttons to select the desired Mute Group number. • When a pad in a Mute Group is selected, the other pads in that same Mute Group will blink yellow. • Press F6 (Solo) to solo the selected pad. Time Correct lets you quantize Track Mutes. This is useful when you want your mutes to line up with a specific time division.
Step Sequence Mode Step Sequence Mode lets you create or edit Sequences by using the pads as "step buttons," simulating the experience of a traditional step-sequencer-style drum machine. In your software, click the Step Seq tab in the Mode Tab Section. Hardware: To enter Step Sequence Mode, press the Step Seq button. The upper half of the window contains the grid, showing the note events of the current Sequence.
Pad Section This section lets you quickly create and delete note events as "steps" by using the pads of your MPC hardware or MPC software. Tip: Using Step Sequence Mode is most useful for programming drums, emulating the step recording of drums as it was done with various drum machines from the 1980s. In the software, create or delete steps by doing the following: 1. First, click the Track drop-down menu above the grid or in the Track section to select a Track. 2.
Hardware: Create or delete steps by doing the following: 1. Use the Cursor Buttons to select the Trk field, and use the Data Dial or -/+ buttons to select a Track. 2. Use F5 (Pad-) and F6 (Pad+) to select the pad whose steps you want to create or edit. The pad number and its sample name will appear in the upper-right corner of the display. Alternatively, you can use the Cursor Buttons to select the Pad field in the upper-right corner and use the Data Dial or -/+ buttons to select a pad. 3.
MIDI Control Mode In MIDI Control Mode, you can 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. This is useful when using MPC as a plugin: you can use MIDI Control Mode to use your MPC hardware to control your host software, and then switch back to any other mode to control the MPC plugin. Important: • In your host software, make sure your MPC hardware is selected as a MIDI controller device.
To edit a control: 1. Select it by doing one of the following: • clicking it in the software • pressing or moving it on your hardware 2. In the Edit panel on the left side of the software window, set that controls' parameters to your preference. The available parameters depend on whether it is a Q-Link Knob, pad, or the type of button. • Control (all controls): This determines what message the control sends to the software (e.g.
• Touch Sense (Q-Link Knobs only): This activates or deactivates the Q-Link Knob's touchcapacitive circuitry. o When set to On, you can touch the Q-Link Knob to send a Note On message to the software (this is how your MPC hardware normally works). o When set to Off, the Q-Link Knob will not send any Note On messages; it will only send CC messages when you turn it.
Effects The MPC software offers various effects for processing samples and sound Programs. These same instructions for loading and editing effects are also described in the Program Mixer Mode and Track Mixer Mode chapters, but this section can help you get a good overall understanding of how you can apply these effects. Note: See the Effects and Parameters section of the Appendix for a list of all available effects (with a brief description of each) and their editable parameters.
Pad Effects Pad Insert Effects To load and edit pad insert effects: 1. In the software, click the Program Mixer tab in the Mode Tab Section. 2. Click the desired pad's channel's Route button. 3. 4. Click the button next to Inserts so it says On. Click the downward arrow (T) of the drop-down menu of the slot you want to assign an effect to. Select an effect from the window that appears. Click a loaded effect name to open its graphic user interface to edit its parameters.
Pad Send Effects Important: To use a send effect, you have to load an effect into the corresponding send effect slot in Track Mixer Mode. To load and edit a pad send effect and set its levels: 1. In the software, click the Track Mixer tab in the Mode Tab Section. 2. In the Send Effects column on the right of the software window, under one of the Return slots, click the downward arrow (T) of the drop-down menu of the slot you want to assign an effect to. Select an effect from the window that appears. 3.
After loading a send effect and setting its return level, set the level the pad sends to it: 1. Enter Program Mixer Mode by pressing the Prog Mix button. 2. Press F4 (Send) to view the pads' channels' send effect levels. (To show another set of 16 pads, use the Pad Bank buttons to select another bank. You can repeatedly press F4 (Send) to cycle through the four available insert effect slots. The small squares below the tab indicate the currently selected slot.) 3.
Track Send Effects Important: To use a send effect, you have to load an effect into the corresponding send effect slot in Track Mixer Mode. To load and edit a Track send effect and set its levels: 1. In the software, click the Track Mixer tab in the Mode Tab Section. 2. In the Send Effects column on the right of the software window, under one of the Return slots, click the downward arrow (T) of the drop-down menu of the slot you want to assign an effect to. Select an effect from the window that appears.
After loading a send effect and setting its return level, set the level the Track sends to it: 1. Enter Track Mixer Mode by pressing Shift + Prog Mix / Track Mix. 2. Press F4 (Send) to view the channels' send effect levels. (To show another set of 16 channels, select the Track field in the upper-right corner and use the Data Dial or the -/+ buttons. You can repeatedly press F4 (Send) to cycle through the four available insert effect slots.
Operation (Plugin) When using the MPC software as a VST, AU, or RTAS plugin, its features and functions are very similar to its operation as your host software but with some notable differences discussed in this chapter. Important: For information about using the MPC software as a standalone software program, please see the Operation (Software) chapter. Note: To learn how to load and use an instrument plugin in a host application, please refer to the corresponding chapter of your host application's manual.
Appendix Keyboard Shortcuts You can use the following computer keyboard shortcuts for the MPC software. Cubase users: When running MPC as a plugin in Cubase, all keyboard shortcuts need to be combined with Alt. Function Control (Windows) Alt Command (Mac OS X) Main Grid, Select Box Tool Click and drag to copy selected events. Track View, Region Mode Click and drag to copy selected events. Main Grid, Pencil Tool Click and drag to copy selected events.
File Menu Function Control (Windows) Command (Mac OS X) New Project Control + N Command + N New From Template Control + Shift + N Command + Shift + N Save Project Control + S Command + S Open Preferences Control + , Command + , Function Control (Windows) Command (Mac OS X) Undo Control + Z Command + Z Redo Control + Y Shift + Z Cut Control + X Command + X Copy Control + C Command + C Paste Control + V Command + V Duplicate Control + D Command + D Function Control (Window
Effects and Parameters This chapter lists the available effects in the software. To learn more about how effects work in the software, please see the Effects chapter. 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. In the graphic user interface for these effects, a . next to the time division indicates a triplet-based rate. Reverbs Reverb Small This is a spatial effect, designed to emulate a small room.
Reverb Medium This is a spatial effect, designed to emulate a medium room. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Pre-Delay 1 – 100 50 Q9 Early Reflection 0 – 100 50 Q5 Density 0 – 100 50 Q1 Diffuse 0 – 100 50 Q14 Decay 0 – 100 50 Q10 Lo-Cut 0 – 100 15 Q6 Hi-Cut 0 – 100 10 Q2 Reverb Large This is a spatial effect, designed to emulate the sound of a large hall.
Reverb Large 2 This is a less CPU-intensive spatial effect, emulating the sound of a large hall.
Reverb In Gate This is a hall reverb with an additional control. The reverb effect is cut off when the input drops below the level set in the Gate In parameter.
Reverb Out Gate This is a hall reverb that has an additional control. The reverb effect is cut off when the output drops below the level set in the Gate Out parameter.
Delays Delays the original signal for a specified period of time and plays it back over an adjustable period of time.
Delay Stereo Stereo Delay operates similarly to Mono Delay but in true stereo. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Time 2 – 2000 ms 100 Q9 Feedback 0 – 100 25 Q5 Damping 0 – 100 100 Q1 Delay Sync (Stereo) Stereo Delay operates similarly to Mono Delay but in true stereo.
Delay LP LP Delay is identical to the Mono Delay, but it uses a resonant low-pass filter in the delay line. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 50 Q13 Time 2 – 2000 ms 500 Q9 Feedback 0 – 100 50 Q5 Cutoff 0 – 100 50 Q1 Resonance 0 – 100 20 Q14 Delay HP HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.
Delay Analog Analog Delay is similar to Mono Delay, except that it's designed to sound like an analog "Bucket Brigade"style delay. This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Delay Tape Sync Tape Delay emulates a delay system using an analog tape loop and a series of tape heads to produce an echo effect. This delay type yields a very distinct echo sound often heard in reggae and dub-style music.
Delay Multi-Tap This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.
Flangers A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time disalignment. Slow Rate settings can produce a "whooshing" jet engine sound, while faster rates result in more of a "warble.
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.
Autopans This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.
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).
Phasers The phaser is a classic effect, created by multiple ganged all-pass filters to create "notches," or sharp spikes, in the frequency spectrum. The frequencies of these all-pass filters are usually modulated by an LFO to create a sweeping sound.
HP Filters HP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Q-Link Knob Number Frequency 10 – 19999 Hz 1500 Q13 Resonance 0 – 100 0 Q9 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. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Low Frequency 0 – 100 0 Q9 High Frequency 0 – 100 100 Q5 Resonance 0 – 100 50 Q1 Rate 8 bars – 1/32 1/4 Q14 HP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
LP Filters LP Filter This effect is a static filter without modulation. Parameter Value Range Default Value Q-Link Knob Number Frequency 10 – 19999 Hz 1500 Q13 Resonance 0 – 100 0 Q9 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. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Low Frequency 0 – 100 0 Q9 High Frequency 0 – 100 100 Q5 Resonance 0 – 100 50 Q1 Rate 8 bars – 1/32 1/4 Q14 LP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
Parametric EQs 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 Q-Link Knob Number Low Frequency 22 – 1000 Hz 220 Q13 Frequency 1 82 – 3900 Hz 820 Q9 Frequency 2 220 – 10000 Hz 2200 Q5 High Frequency 560 – 19999 Hz 5600 Q1 Q1 0 – 100 0 Q14 Q2 0 – 100 0 Q10 Low Gain -18.0 – 18.0 dB 0.0 Q15 Gain 1 -18.0 – 18.0 dB 0.0 Q11 Gain 2 -18.0 – 18.0 dB 0.0 Q7 High Gain -18.0 – 18.
PEQ 4-Band This effect is a powerful four-band parametric equalizer with four independent EQ ranges. Parameter Value Range Default Value Q-Link Knob Number Low Frequency 22 – 1000 Hz 220 Q13 Frequency 1 82 – 3900 Hz 820 Q9 Frequency 2 220 – 10000 Hz 2200 Q5 High Frequency 560 – 19999 Hz 5600 Q1 Q1 0 – 100 5 Q14 Q2 0 – 100 5 Q10 Q3 0 – 100 5 Q6 Q4 0 – 100 5 Q2 Gain 1 -18.0 – 18.0 dB 0.0 Q15 Gain 1 -18.0 – 18.0 dB 0.0 Q11 Gain 2 -18.0 – 18.0 dB 0.
Distortions Distortion Amp This effect is designed to reproduce the sound of a tube amplifier at high volumes. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 Tone 0 – 100 50 Q5 Dynamics 0 – 100 50 Q1 Output 0 – 100 50 Q14 Distortion Fuzz This popular effect uses hard clipping of the audio signal, which, at extreme settings, can turn a standard waveform into a square wave, producing a "razor" effect.
Distortion Grimey This is a unique distortion effect that distorts a frequency range in a selectable band. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 Grime 0 – 100 50 Q5 Center 0 – 100 50 Q1 Width 0 – 100 50 Q14 Resonance 0 – 100 50 Q10 Output 0 – 100 50 Q6 Distortion Overdrive This distortion is designed to sound like a mildly distorting amplifier at medium volumes.
Distortion Custom This effect is a highly customized distortion, capable of a wide range of useable sounds. Parameter Value Range Default Value Q-Link Knob Number Dry/Wet 0 (dry) – 100 (wet) 100 Q13 Drive 0 – 100 50 Q9 +Soft 5 – 75 2 Q14 +Clip 5 – 50 25 Q10 -Soft 5 – 75 2 Q6 -Clip 5 – 50 25 Q2 Low -18.0 – 18.0 dB 0.0 Q15 Mid -18.0 – 18.0 dB 0.0 Q11 High -18.0 – 18.0 dB 0.0 Q7 Output -18.0 – 18.
Compressors A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain. Compressor Master This is the most transparent compressor, able to perform substantial volume adjustments without artifacts.
Compressor Opto The Opto Compressor is modeled after a vintage compressor type using an optical circuit to control the volume reduction of the input signal. These compressors are usually associated with soft and unobtrusive attack and release characteristics.
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.
Compressor Vintage This compressor has a sound similar to classic tube compressors, with their gentle yet pumping response and a dash of tube saturation.
Bit Reducers Decimator Decimator down-samples the incoming signal by removing bits from the digital signal. The difference between decimation and resampling is that Decimator does not use any filtering to mask or correct digital artifacts. The result is an effect ranging from mild to almost completely pure digital distortion, depending on the setting and the source material.
Other Auto Wah This effect is a low-pass filter modulated by an envelope that yields a classic funky "wah-wah"- like sound. The envelope is triggered by the incoming signal's amplitude. The amount of the envelope on the cutoff frequency is user-definable.
Frequency Shifter A frequency shifter changes the frequencies of an input signal by a fixed amount and alters the relationship of the original harmonics. This can produce a chorus-like effect as well as very crazy artificial timbres.
Glossary A lot of the terms in this manual are based on the MPC parameter names. This glossary briefly explains many of the technical terms used throughout. 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).
Control Change (Controllers): MIDI messages enable you to manipulate the behavior of a sound generator to a significant degree. This message essentially consists of two components: • The controller number, which defines the parameter to be influenced. It can range from 0 to 127. • The controller value, which determines the extent of the modification. Controllers can be used for effects such as slowly swelling vibrato, changing the stereo panning position and influencing filter frequency.
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. At the time a communications standard for heterogeneous devices did not exist, so MIDI was a significant advance. It made it possible to link various devices with one another through simple, standardized connectors. Essentially, this is how MIDI works: One sender is connected to one or several receivers.
Panning: The process or the result of changing a signal's position within the stereo panorama. Pitchbend: Pitchbend is a MIDI message. Although pitchbend messages are similar in function to control change messages, they are a distinct type of message. The resolution of a pitchbend message is substantially higher than that of a conventional Controller message.
Sample: When you tap the pads on your MPC hardware, you can trigger sounds that we call samples. Samples are digitized snippets of audio that can either be recorded using the recording function of your MPC software or loaded from the File Browser. Once a sample is present in the software, it can be manipulated in different ways. For example, a sample can be trimmed, looped, pitch-shifted or processed, using various effects offered by the software.
Trademarks and Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. ASIO, Cubase, and VST are trademarks of Steinberg Media Technologies GmbH. Mac and OS X are trademarks of Apple Inc., registered in the U.S. and other countries. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. All other product or company names are trademarks or registered trademarks of their respective owners.
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