User Guide English Manual Version 1.
Table of Contents Introduction................................................................................................................................................. 9 System Requirements and Product Support ..................................................................................... 9 About This User Guide ....................................................................................................................... 10 Important Notes ..........................................
Quick Start / Tutorial ................................................................................................................................ 22 Starting Up........................................................................................................................................... 22 Creating a Drum Kit ............................................................................................................................ 23 Recording a Drum Sequence...........................
Other Features Explained .................................................................................................................. 40 Step Sequencer ............................................................................................................................... 40 Drum Loops and Chop Mode .......................................................................................................... 42 Pad Muting and Track Muting ............................................................
Effects .............................................................................................................................................. 72 Overview ........................................................................................................................................................ 72 Insert Effects .................................................................................................................................................. 77 Send/Return Effects ........
Pad Mixer ...................................................................................................................................... 188 Levels .......................................................................................................................................................... 191 Panning ....................................................................................................................................................... 191 Mute ............................
Song Mode .................................................................................................................................... 253 Browser ......................................................................................................................................... 256 Pad Perform Mode ........................................................................................................................ 260 Pad Color Mode ..........................................................
Glossary ............................................................................................................................................. 294 Trademarks and Licenses ................................................................................................................
Introduction Thanks for choosing the MPC Touch. Fusing Akai Professional’s legendary MPC layout and workflow with the power of your computer, MPC software is an unrivaled instrument for music production. Introducing a new approach to music production with an ultra-fast and super-intuitive workflow, the Touch is powered by a radiant 7” color multi-touch display.
About This User Guide This manual should help you get familiar with using the MPC Touch to control your MPC software. For consistency, the terminology throughout is based on the MPC parameter names. We also used specific formatting to indicate particular topics of significance: Important / Note / Tip: Important or helpful information on a given topic. Names of buttons, controls, parameters, settings, and other options are written in bold characters throughout the manual.
Important Notes • Read the included Safety & 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 installing the MPC software, make sure your computer meets the system requirements described at akaipro.com. This applies whether you’ll use MPC software as your host software or as a plugin.
2. Connection Here is just an example of how to use MPC Touch in your setup. Items not listed under Introduction > Box Contents of your included Quickstart Guide are sold separately.
3. Getting Started 1. Power on MPC Touch. 2. On your computer, open the MPC software. 3. Follow the on-screen instructions to authorize your version of MPC. For more specific instructions, see the following section, Unlocking Your MPC Software. 4. In the MPC software, click the Edit menu, and select Preferences. Click the Audio tab and select the sound card you want to use. Click OK when you are done. 5.
Unlocking Your MPC Software To unlock the MPC software: 1. Connect your MPC Touch to a USB port on your computer and to a power source. 2. Power on the MPC Touch. 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! If your computer is not connected to the Internet, follow these additional steps: 7. Click Use Web Form. 8.
Features This chapter explains the features and functions of your MPC hardware. 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. Display: This full-color multi-touch display shows information relevant to MPC Touch’s current operation. Touch the display (and use the hardware controls) to control the MPC software. See the later Display section to learn how to use some basic functions. 2.
4. 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. The lights above the Q-Link Knobs indicate the currently selected column. Press the Q-Link button above them to change which column of parameters they currently control. 5. Q-Link Button: Press this button to change which column of parameters the Q-Link Knobs currently control (indicated by the lights above the Q-Link Knobs).
12. Shift: Press and hold this button to access some buttons’ secondary functions (indicated by gray writing). Alternatively, double-press the desired button. Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds. 13. Menu/Browse: Press this button to open the Mode Menu. You can tap an option on the Menu screen to enter that mode, view, etc. Press and hold Shift and then press this button to view the Browser.
Display Here is some general information about how to use the MPC Touch display: 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 display to return to the previous view.
Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out. The upper edge of the display shows the toolbar, which contains information about the current view (often the name of the current track, sequence, audio pointer position, etc.). Tap an item to select it. The lower edge of the display shows various buttons that you can use in the current view. Tap a button to press it.
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 display 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.
9. MIDI Out: Use the included 1/8”-to-5-pin adapter and a five-pin MIDI cable to connect this output to the MIDI input of an external MIDI device (synthesizer, drum machine, etc.). Important: Do not connect audio devices (e.g., headphones, monitors, etc.) to the MIDI Out. Use the included 1/8”-to-5-pin adapters to connect MIDI devices only. 10.
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 display on your MPC Touch 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. Press Shift+Menu/Browse to show the Browser. Then, use the touchscreen to navigate to where your drum sounds are located: • To view the files and folders on your computer, tap Project in the lower-left corner. • To view the pads and the project’s sample pool, tap Samples in the lower-left corner. • To move to the previous folder, tap the up (∧) button in the upper-left corner. • To move through a list, swipe up or down.
There are two ways to load samples in this mode: using the Project tab or the Samples tab. Let’s try each of them. First, load a bass drum using the Project tab: 1. Make sure the Project button in the lower-left corner of the touchscreen is marked red. If it isn’t, tap it. 2. Press Pad 1 or tap Pad 1 in the touchscreen to select it. The pad will be lit green. 3. Use the techniques listed above to find a bass drum sample you like. 4.
Recording a Drum Sequence Now that your drum kit is set up, let’s record a drum sequence. 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 drums on the pads. 3. Play a simple bass drum pattern.
Organizing Samples 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.
To rename your samples, let’s use your computer. In the Project Information panel, right-click a sample name a sample (e.g., “1980Kick1”) and select Rename. Use your computer keyboard to rename the sample (e.g., “Bass Drum”). Repeat this for the other samples in the program. This will help keep your program organized as you add more samples to it. The Project Information panel in the software. Now would be a good time to save your project.
Editing Note Events In the grid, you can see your recorded notes (or note events) as a sequence. To enter Grid View, press Main, and then tap the grid icon on the left side of the touchscreen. The Grid View with Pad A02 selected. 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 adjust the start point or end point of the selected notes (without changing their position), tap Edit Start or Edit End at the bottom of the touchscreen, and then use the Data Dial or –/+ buttons. • To transpose the selected notes up or down, tap Transpose at the bottom of the touchscreen, and then use the Data Dial or –/+ buttons. • To adjust the velocity of the selected notes, tap Velocity at the bottom of the touchscreen, and then use the Data Dial or –/+ buttons.
• To open the Timing Correct settings, press and hold Shift, and then tap TC at the bottom of the touchscreen. See Operation > Modes > Main Mode to learn about these settings. • To open the metronome settings, press and hold Shift, and then tap Click at the bottom of the touchscreen. See Operation > Modes > Main Mode to learn about these settings. • To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at the bottom of the touchscreen.
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. Adjusting Pad A01’s parameters in Program Edit Mode. Press a pad to show its parameters in the touchscreen. • 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.
The snare drum may need some reverb to give it a more spatial sound. Tap Effects at bottom of the touchscreen to view the Insert Effects tab. Press the pad with your snare drum sound to select it. Adding insert effects to Pad A02 in Program Edit Mode. 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.
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 work on a new track. A track is simply a layer of a sequence. You can work with multiple tracks in a single sequence (e.g., a drum track, a bass track, a piano track, etc.). when you play the sequence, all of them will play simultaneously.
Let’s create a new program to assign to this empty track. To create a new program: 1. In the Program section in the lower part of the touchscreen, tap the + button next to Program. 2. On the right side of the touchscreen, tap the cursor icon. 3. Use the virtual keyboard that appears to enter a new name, and then tap Do It. 4. Back in the Track section in the middle of the touchscreen, tap the piano icon.
To load and edit a bass sound, let’s use the software window instead of MPC Touch: 1. If the Browser panel is not visible on the left side of the window, click the triangle () in the lower-left corner to show it. 2. In the Browser, locate and select a bass sample. 3. Double-click a sample to add it to the project. Keep in mind that the sample isn’t assigned to a pad yet. Let’s continue to set up the keygroup program: 1.
Let’s add a second layer and set the layers’ velocity ranges so the bass will sound different when played at a higher velocity (as a real bass would): 1. Go back to the Browser and select a different bass sample that sounds similar but a little bit brighter. 2. Double-click a sample to add it to the project. 3. Back in the Layer section, click the Layer 2 drop-down menu and select the new bass sample. Press a pad—both samples will sound at once.
Once you’ve recorded it, let’s tweak the sound a bit in the Filter section: 1. Click the Type drop-down menu, and select a filter. Let’s try working with the Low 4 type. 2. Click and drag the Cutoff and Reso (resonance) knobs up or down until your bass sample sounds good to you. 3. Click and drag the Amp Atk (amp envelope attack) and Amp Rel (amp envelope release) knobs up or down. These control the overall level characteristics of the sound.
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). To enter Song Mode, press Menu, and then tap Song. You’ll see each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads. As a song plays, it moves through each step of the sequence playlist. Each step contains a sequence you assigned.
To insert a step at the current position, tap Insert. To delete the currently selected step, tap Delete. To set which sequence plays for a step, tap the step’s Sequence field, and then turn the Data Dial to select a sequence. To set how many times a sequence repeats, tap the step’s Repeat field (under the repeat icon), and then turn the Data Dial to select a number.
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 stepsequencer-style drum machine. To enter the Step Sequencer, press Menu, and then tap Step Sequencer.
7. Each pad represents a step in the bar. If the pad already has note events on the selected track, the corresponding pads (steps) will be lit with colors corresponding to their velocities. To enter a note at a step, press an unlit pad. The pad will light up with a color corresponding to its velocity. 8. To delete the note from a step, press a lit pad. The pad will become unlit. To delete all notes from the entire bar, press and hold Shift, and then tap Clear Bar in the lowerright corner.
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 Browser to locate a drum loop on your computer, 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. 1.
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 and hold Shift and then tap Convert at the bottom of the touchscreen 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.
You can also edit the note events of the drum loop slices—enter Main Mode to do this. A new track with the note events playing their corresponding slices has been automatically created. Tap the TC button at the bottom of the touchscreen to use Time Correct to quantize the note events so they fall on exact, even time intervals. You can also rearrange the note events, thus creating a new playback order for the slices. You can also edit each slice or sample in Program Edit Mode.
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. To enter Pad Mute Mode, press Menu and then tap Pad Mute. Pad Mute Mode. 1. Press Play to play the sequence. 2. Tap the Program field at the top of the touchscreen, and then use the Data Dial or –/+ buttons to select your drum program. Alternatively, double-tap the Program field, and then tap a program to select it. 3.
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. Track Mute Mode. 1. Press Play to play the sequence. 2. Tap the Sequence field at the top of the touchscreen, 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.
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 Touch or to your computer’s audio interface. To open the Sampler, press Menu and then tap Sampler. Recording using the Sampler. 1. Connect a microphone to the input(s) of your MPC Touch. 2. Turn the Rec Gain knob to set the input level while speaking into the microphone. You should now see the level in the meter.
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. Using Trim Mode while in Sample Edit Mode. In Sample Edit Mode: • To switch between Trim Mode and Chop Mode, tap the Trim/Chop button at the bottom of the touchscreen. (In this example, use Trim Mode.) • To set the sample’s start point, press Q-Link to select the first bank: Q1, Q5, Q9, and Q13.
Let’s apply some processing to the sample. To open the Process Sample window, tap the Process button at the bottom of the touchscreen. The Process Sample window in Sample Edit Mode. 1. To select the desired process in the Function field, use the Data Dial or –/+ buttons. Alternatively, tap the Function button 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.
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 to open the menu, and then tap XYFX to enter XYFX Mode. 2. 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. 3. Tap Setup to show the Setup panel, which controls how the XY pad behaves. 4. Double-tap the Preset field, and tap an effect to select it.
7. Press Play Start to start recording. 8. As you record, move your finger over the XY pad on the touchscreen. The changes in the sound are being recorded as automation of both the X axis and Y axis parameters. 9. When you are done recording, press Stop. 10. Tap the automation button in the upper-right corner to select the green Read (R) option. This ensures your track uses the automation you just recorded when you play it back. See Operation > Modes > XYFX Mode to learn more about using this feature.
Operation This chapter explains the complete features and functions of your MPC Touch with 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 > General Features > Differences Between Plugin and Standalone Usage chapter.
General Features Control Types The MPC Touch 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, and then tap and drag the larger version that appears, or use the Data Dial or –/+ buttons to adjust the value. Tap anywhere else to return to the previous screen.
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 touchscreen to confirm your selection or to cancel without changing anything.
Selectors Selectors show all available options. One of them is always selected. The selected option is highlighted while the others are dark. To select an option, tap it. Buttons Buttons usually have two states: selected and deselected (active or inactive, respectively). To select or deselect a button, 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 to switch it to its opposite state.
Tabs Some modes have buttons at the bottom edge of the touchscreen that let you cycle through several similar tabs. For instance, you could view the send level that is routed to each of 4 returns—each level is shown on a separate tab. With each tap, you will move to the next tab, indicated by the squares below it. To select a tab, tap it. Each time you tap it, it will select the next tab.
Envelopes To set the stages of an envelope, do either of the following: Tip: Tap the rectangular 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 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 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: • To select a note, tap it.
Programs 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 up to 128 programs.
Drum Programs 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. If the project does not contain a drum program yet, a new drum program will automatically be added to the project and appear in the Program field below. If the project already contains a drum program, it will be selected automatically and appear in the Program field below. To create another drum program, tap the + icon above the Program field.
To load a sample into a drum program: 1. Tap Shift+Menu/Browse to show the Browser. Find and select a sample, and then tap Load to load it to the program. (See Modes > Browser to learn more about using the Browser specifically.) 2. Tap Samples at the bottom of the touchscreen. This lets you view the pads and project’s sample pool. 3. Tap a pad to select it. The pad will be lit green. 4. In the Sample Pool list, double-tap a sample to assign it to the pad.
Alternatively, load samples into a drum program this way: 1. Press Menu and then tap Program Edit to enter Program Edit Mode. 2. Tap Samples at the bottom of the touchscreen. 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. The pad will be lit green. 4. Tap the field for a layer, and then use the Data Dial or –/+ buttons to select a sample.
Keygroup Programs 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. If the project does not contain a keygroup program yet, a new keygroup program will automatically be added to the project and appear in the Program field below. If the project already contains a keygroup program, it will be selected automatically and appear in the Program field below.
To load a sample into a keygroup program: 1. In the software window, if the Browser panel is not visible on the left side, click the triangle () in the lower-left corner to show it. 2. In the Browser, find and select a sample, and then double-click it to add it to the project. Keep in mind that the sample isn’t assigned to a pad yet. 3. Click the Program Edit icon in the upper-left corner of the window to enter Program Edit Mode. Alternatively, press Ctrl+2 (Windows) or +2 (Mac OS X) on your computer. 4.
Plugin Programs A plugin program lets you send your track’s MIDI data to a loaded plugin. This lets you set multiple tracks to use the same plugin instead of loading an instance of a plugin on every track (which can be cumbersome and CPU-intensive). To create a plugin program: 1. Press Main to enter Main Mode. 2. Next to the Track field, tap the plug icon, which indicates a plugin program. 3.
5. To select the MIDI channel the program will use, double-tap the MIDI Ch field. In the list that appears, tap the desired channel. Alternatively, use the Data Dial or the –/+ buttons to select a channel. Use this setting when you are working with a virtual instrument plugin that supports multi-mode. 6. To select a preset in your plugin (if any), double-tap the Preset field. In the list that appears, tap the desired preset. Alternatively, use the Data Dial or the –/+ buttons to select a preset. 7.
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 bars icon, which indicates a MIDI program. 3. If the project does not contain a MIDI program yet, a new MIDI program will automatically be added to the project and appear in the Program field below.
By default, the volume and pan values will initially appear in the software window as ?, indicating the program is not sending any volume or pan changes. These values will appear as normal in the touchscreen, though (in Channel Mixer Mode). To adjust the volume and panning of a track using the MIDI program: 1. Press Menu and then tap Channel Mixer to enter Channel Mixer Mode. 2. Double-tap the Mixer field in the upper-left corner, and then tap Tracks. 3.
Menu The Menu lets you select any of the 20 modes on MPC Touch that control the MPC software. To open the Menu, press Menu, or tap the icon in the upper-left corner of the touchscreen while on the normal page of your current mode. When viewing the Menu, do any of the following: • To enter a mode, tap it. • To return to the previous mode, tap the gray area in the upper-left corner, or press Menu again. The Menu. Each mode shown above is described in the following Modes chapter.
16 Level Press the 16 Level button on your MPC Touch to activate or deactivate 16 Level. When activated, the last pad that was pressed 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.
Effects The MPC software offers various effects that you can apply to the pads, keygroups, 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 and 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 4 insert effects applied to it.
There are three other parts of the software that handle effects differently: • The Sampler can use up to 4 insert effects, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about the Sampler in the Modes > Sampler chapter. • Similarly, the Looper can use up to 4 insert effects, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later.
When viewing loaded effects, you will see this window: In 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. • To enable or disable an effect slot, tap the On/Off button next to it. • To enable or disable all 4 effect slots, tap the All On/All Off button in the upper-right corner.
When selecting an effect, you will see this window: In this window: • To move through the list, swipe up or down. Alternatively, use the Data Dial or –/+ buttons. • To sort or unsort the effects by type or manufacturer, tap Type or Manufacturer in the lowerleft corner. • To load an effect, double-tap it. Alternatively, tap Select, or press the Data Dial. • To cancel, tap Close or anywhere outside of the list.
When you edit an effect, you will see this window: In this window: • To adjust a parameter, tap and drag its slider. Alternatively, use the Data Dial or –/+ buttons. To make finer adjustments, double-tap the pad and adjust the larger version of the slider that appears. Tip: Turn the Q-Link Knobs to quickly adjust the corresponding 4 parameters. Use the Q-Link button to select another set of 4 parameters the Q-Link Knobs control.
Insert Effects Pads You can load up to 4 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 keygroup insert effect in Program Edit Mode: 1. While using the desired program, press the desired pad to select it. 2. Tap the Effects tab in the lower-right corner, and use it to load or edit effects. Keygroups You can load up to 4 insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode in the software. Important: When using keygroup insert effects, they will be applied to the entire keygroup program.
To load a keygroup insert effect in the Pad Mixer: 1. Use the Program field at the top of the touchscreen to select the desired program. Alternatively, use the Track field at the top of the touchscreen 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 in the touchscreen. Alternatively, doubletap the Keygroup field below the Program field.
Programs You can load up to 4 insert effects to each program. You can do this in Main Mode, XYFX Mode, Program Edit 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. Use the Track field to select the track that uses the program with the desired pad—the program it uses will be selected automatically. 2.
To load an insert effect in Program Edit Mode: 1. In the software window, click the Program Edit tab at the top of the screen. Alternatively, press Ctrl+2 (Windows) or +2 (Mac OS X) on your computer keyboard. 2. If the button above the Program Inserts slots is set to Off, click it so it changes to On. 3. Click the downward arrow () of one of the insert slots, and then use the window that appears to load effects.
Submixes You can load up to 4 insert effects to each submix. You can do this in the Channel Mixer only. To load a submix insert effect: 1. Set the Mixer field in the upper-left corner to Submixes. 2. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Submix field below the Mixer field. 3. Tap the pencil icon next to Inserts, and then use the window that appears to load or edit effects.
To load a master insert effect in the Channel Mixer: 1. Set the Mixer field in the upper-left corner to Masters. 2. In the touchscreen, tap the pad that corresponds to the desired master output (Outputs 1/2, Outputs 3/4, etc.). Alternatively, double-tap the Outputs field below the Mixer field. 3. Tap the pencil icon next to Inserts, and then use the window that appears to load or edit effects.
Send/Return Effects Send/return effects work in the following way: 1. A pad, keygroup, program, or submix sends its audio to up to 4 returns at its designated send level. 2. That audio is processed by the effect(s) on the return. Each return can have up to 4 effects loaded. 3. The processed audio is sent back to its pad, keygroup, program, or submix at a designated return level. 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 touchscreen 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. In the software window, click the Program Edit tab at the top of the screen. Alternatively, press Ctrl+2 (Windows) or +2 (Mac OS X) on your computer keyboard. 2. If the Send button above the desired keygroup’s channel strip is not already selected, click it. 3. Click and drag the knob that corresponds to each return up or down.
Programs You can set the send levels for programs in the Channel Mixer only. To set the send levels for a program: 1. In the Channel Mixer, set the Mixer field in the upper-left corner to Programs. 2. Tap the Send tab at the bottom of the touchscreen (tap it multiple times to select a different send level). 3. In the touchscreen, tap the pad that corresponds to the desired program. Alternatively, double-tap the Program field below the Mixer field. 4. Use the Data Dial or –/+ buttons to set the send level.
Differences Between Plugin and Standalone Usage When using the MPC software as a VST, AU, RTAS, or AAX plugin, its features and functions are very similar to its operation as your host software but with some notable differences discussed here. Important: This Operation chapter contains information about using the MPC software as a standalone software program. This section describes the differences.
Modes MPC Touch has a Menu page that lets you select any of the 20 modes on MPC Touch that control the MPC software. This chapter describes the various features and functions of each mode. The 20 modes as shown in the Menu. Click a button above to skip directly to that chapter.
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. Main Mode.
The upper edge shows the project name and transport information. The Project field shows the name of the current project. To view the project information, tap the Project field. A list will appear of the available programs, sequences, and samples in the project. In the Project window, in additional to typical functions you can perform in lists, you can do any of the following: • To expand or collapse the list of programs or sequences, tap the arrow (∨ or >) to its left.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. • To enter Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon. There are also two small icons to the right of these that control the channel strip.
When viewing the pad channel strip: • The first field shows the current pad number. Press a pad or tap the field to select a different pad. Tip: This is useful for mixing your pads without having to enter the Pad Mixer. • The second field shows where the pad is routed, which you can change. Usually, this is set to Program. • The Inserts field shows any enabled or disabled effects for that pad. Tap the pencil icon to open a window where you can change and enable or disable the effects.
• To change the program’s automation, tap the automation button to 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.
When viewing the track channel strip: • The first field shows the current track number, which you can change, and its name. • The second field shows the name of the program the track is using. • To solo or mute the track, tap Solo or Mute (respectively). • To change the panning of velocity of the track, adjust the pan knob or Velocity slider. Note: If the track is using a plugin program, then the slider will send CC #7 (Volume) and the knob will send CC #10 (Pan) to your instrument plugin.
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 or a master tempo, tap the Sequence/Master button under the BPM field. Alternatively, press and hold Shift+Tap Tempo.
To edit the sequence, tap the pencil icon on the right edge of the section. The Sequence Edit/Copy window will open. The Sequence Edit/Copy window. 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 touchscreen. Alternatively, press Main. To edit the name of the sequence, tap the top edge of the touchscreen and use the virtual keyboard that appears.
Erase This 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.
Clear This function erases all events from the sequence and resets all of its settings. To confirm your choice, tap Clear. To return to the previous screen, tap Cancel. Transpose This function transposes a range of events on a track in a sequence. (The events within that range will shift accordingly in the Grid View.) 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.
For keygroup programs, plugin programs, and MIDI programs, set the range and amount of transposition using the MPC software window: • Range: Click and drag these fields up or down to set the range of notes of the events you want to transpose. Events within this note range will be transposed while events outside of this range will remain unchanged. • Transpose: Click and drag this field up or down to set how many semitones up or down you want to transpose the events. To confirm your choice, tap Do It.
Delete Bars This 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 Function or anywhere outside the Delete Bars window. To cancel and return to Main Mode, tap Cancel.
Insert Bars This function adds empty bars to a sequence at a specified point. To select the desired sequence, use the Sequence field. To set how many bars you will insert, use the # of Bars field. To set the time signature of the inserted bars, use the two Time Sig fields. To set where you will insert the bars, use the Before Bar field. The bars will be inserted before this one. To confirm your choice, tap Do It. To return to the previous screen, tap Function or anywhere outside the Insert Bars window.
Copy Sequence This function copies the contents of one sequence to another. To select the source sequence, use the Copy Contents of Sequence field. The “source” sequence is the one whose events you want to copy. To select the destination sequence, use the Over Contents of Sequence field. The “destination” sequence is the one where the source sequence will be copied. To confirm your choice, tap Do It. To return to the previous screen, tap Function or anywhere outside the Insert Bars window.
Copy Bars This copies a range of bars from a sequence and adds them to another at a specified point. To select the source sequence, use the From Sequence field. The “source” sequence is the one whose bars you want to copy. To set the range of bars to copy in the source sequence, use the First Bar and Last Bar fields. To select the destination sequence, use the To Sequence field. The “destination” sequence is the one where the source sequence bars will be copied.
Copy Events This function copies a range of events from a sequence and add them to another at a specified point. To select the source sequence, use the From Sequence field. The “source” sequence is the one whose events you want to copy. To select the source track, use the From Track field. The “source” track is the one whose events you want to copy. To set the time range of the events you want to copy, use the Bar, Beat, and Tick fields.
To overwrite the destination sequence, tap Replace. To add the events to the destination sequence without erasing anything, tap Merge. To return to the previous screen, tap Function or anywhere outside the Copy Events window. To cancel and return to Main Mode, tap Cancel.
The Track section shows the current track, program type, and its information. 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. The program selector indicates which of the four types of programs the track is using. You can also change the program type: • To select a drum program, tap the four-squares icon. • To select a plugin program, tap the plug icon.
Use the Velocity field to set how loudly or quietly a track plays relative to its recorded levels. When set to 50%, the track will be played with half the velocity it was originally played. When set to 200%, the track will play twice as loud. The maximum velocity level is still 127, though. Use the Transpose field to set the transposition (in semitones) of the entire track. To edit the track, tap the pencil icon on the right edge of the section. The Track Edit window will open. The Track Edit window.
Clear This 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. Explode This 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 Program section shows the current program. This section will appear differently depending on the type of program selected. Drum Programs and Keygroup Programs The Program field shows the name of the program. 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 another drum or keygroup program, tap the + icon above the Program field.
Plugin Programs The Program field shows the name of the program. To edit the name of the program, tap the cursor icon on the right edge of the section and use the virtual keyboard that appears. To create another plugin program, tap the + icon above the Program field. A new plugin program will be created and given a number (e.g., Program 002). Use the Plugin field to select the plugin the program is using.
MIDI Programs The Program field shows the name of the program. To edit the name of the program, tap the cursor icon on the right edge of the section, and use the virtual keyboard that appears. To create another MIDI program, tap the + icon above the Program field. A new plugin program will be created and given a number (e.g., Midi 002). Use the MIDI Port field to select the port over which the program sends its MIDI data.
The Timing Correct window contains various settings to help quantize the note events in your sequence. To open the Timing Correct settings, press and hold Shift, and then tap TC at the bottom of the touchscreen. The Timing Correct window. To apply the settings you selected, tap Do It. To cancel and return to the previous screen, tap Close.
Use the Type selector to set how timing corrections are applied. • Start: The start points of note events will be extended or shortened to align with the closest time division marker in the grid. The start points will remain untouched. • End: The end points of note events will be extended or shortened to align with the closest time division marker in the grid. The start points will remain untouched.
Use the Shift Timing field to shift all note events by clock ticks. Use the Window field to set how many notes around a quantize value will be quantized. Any notes outside this range will not be quantized; notes inside will. Use the Strength field 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).
The Click/Metro menu contains all settings regarding the metronome (click track). To open the metronome settings, press and hold Shift, and then tap Click at the bottom of the touchscreen. The Click/Metro window. Use the Count-In field to set if/when the metronome counts before recording. • Off disables the metronome pre-count. • Record enables the pre-count during recording only. • Record + Play enables pre-count in both Record and Playback Modes.
Use the Rate field 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 indicates a triplet-based time division. Use the Sound field to select the sound that you want to hear for the metronome: Sidestick 1, Sidestick 2, Clap, Metroclick, Shake, Tambourine, or MPC Click. Use the Volume knob to set the volume of your metronome click. Tap the On/Off button to enable or disable the metronome.
Grid View 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.
Grid View of a keygroup program, plugin program, or MIDI program. The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. • To enter Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon.
Use the Track field to select which track of the current sequence you want to show in the grid. To switch to the previous or next track, press and hold Shift, and then tap Track – or Track + (respectively) at the bottom of the touchscreen. To mute or solo the track, press and hold Shift, and then tap Mute or Solo (respectively) at the bottom of the touchscreen. Use the Bars field to set the length of the sequence. The counter indicates the current playhead position.
The Settings window lets you select certain Grid View settings. To view the Settings, tap the gear icon. The Settings window in Grid View. 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 off, pressing a pad will simply play its sound without selecting any note events. Use the Auto-Scroll selector to set how the screen behaves relative to the audio playhead.
In 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 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: • To select a note, tap it. • To select multiple notes, tap and drag across the grid to create a box around them.
Grid View. Regardless of which tool is selected, you can perform any of the following operations to move, lengthen, shorten, or transpose any selected note(s). To automatically set the grid to view 1 pad bank and 2 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 move the selected notes, tap Nudge at the bottom of the touchscreen, and then use the Data Dial or –/+ buttons to shift the notes left or right. By default, you can position notes only by quantization values, defined by the Time Correct value (learn about this feature in the Main Mode chapter). To change the position of notes without restricting (“snapping”) them to the grid, tap and hold Don’t Snap in the lower-left corner of the touchscreen, and then use the Data Dial or –/+ buttons to shift the notes.
Grid View also contains a velocity lane where you can easily adjust note velocities. The velocity lane in the Grid View. The taller velocity lane in the Grid View. To show or hide the velocity lane: 1. Tap the up (∧) button in the lower-right corner to show the velocity lane. 2. Tap the up (∧) button once more to show a taller version of the velocity lane. The button will now show a down arrow (∨). 3. Tap the down arrow (∨) to hide the velocity lane. Each note’s velocity is represented by a vertical bar.
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 Track View, do either of the following: • Press Menu, and then tap Track View. • Press Shift+Main/Track. Track View Mode. Each horizontal strip represents a track in the current sequence. Swipe up or down to move through the list of tracks.
Use the Sequence field to select which sequence contains the tracks you want to show below. The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it. You can view it in Bars, Beats, and Ticks or in hours (HH), minutes (MM), seconds (SS), and frames (FF). The Settings window lets you select certain Track View settings. To view the Settings, tap the gear icon.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. • To enter Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon. Use the Program field to select a program for the track. Use the Length field to set how long the track is.
Use the Transpose field to set the transposition (in semitones) of the entire track. Use the Level slider to change the level of the track. Use the Solo and Mute buttons to solo or mute the track (respectively). Alternatively, tap Mute or Solo (respectively) at the bottom of the touchscreen to mute the currently selected track. To switch to the previous or next track, tap Track – or Track + (respectively) at the bottom of the touchscreen.
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-sequencerstyle drum machine. To enter the Step Sequencer, press Menu, and then tap Step Sequencer. The Step Sequencer.
The Track field shows the name of the current track. Use the Track Length field to set how long the track is. If you select the minimum value, Sequence or 0, the track will be however long your sequence it. Tip: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line. Use the Bars field to adjust the length of the sequence in bars. Use the BPM field to adjust the tempo of the sequence.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. • To enter Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon. Use the Time Division selector to set the value that determines how many steps each bar of the sequence will have.
For time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. Use the left and right arrows (< and >) by the step numbers (1–16, 17–32, etc.) to change which steps are shown in the sequencer. The numbers by these arrows indicate which steps are shown. Alternatively, use Pad Bank Buttons to change which steps are shown. To adjust the velocities of the steps, do either of the following: • Tap anywhere on the velocity bar of a step.
Tap Presets to show or hide the preset sequence controls. These controls let you manipulate and transform the velocities of the current bar in the sequence. The first button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • The velocities will ascend to a single peak at the end of the bar. • The velocities will ascend to 2 peaks—one after each half of the bar.
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 touch or move your finger on the touchscreen, 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.
The left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them: • To enter Main Mode, tap the house icon. • To enter Grid View, tap the grid icon. • To enter Track View, tap the bars-and-magnifying-glass icon. • To enter the Step Sequencer, tap the vertical-bars icon. • To enter XYFX Mode, tap the XY icon. The counter indicates the current playhead position.
Touch or move your finger on the gridded part of the touchscreen. A red 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. While touching the XY pad, tap the Latch button to keep the marker on the XY pad even after you release it (the marker will become a white circle instead of a red circle).
Use the Preset field to select the effect you want to use in XYFX Mode. 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.
Sample Edit Mode Sample Edit Mode lets you edit samples using various functions. To enter Sample Edit Mode, press Menu, and then tap Sample Edit. To select a sample to edit, do any of the following: • Use the Sample field at the top of the touchscreen. • In Main Mode, tap the Project field at the top of the touchscreen, 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. A sample waveform with a single start point and end point. 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.
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. To move the start point or end point of the selected region, do either of the following: • Tap and drag its marker left or right. • Use the Start or End fields shown below the waveform. • Use the first bank Q-Link Knobs to adjust the start point or the second bank of Q-Link Knobs to adjust the end point.
Trim Mode We recommend using Trim Mode to simply crop the end(s) from a sample. To enter Trim Mode, tap the Trim/Chop button in the lower-left corner so it says Trim. Trim Mode. 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 bank Q-Link Knobs to adjust the start point or the second bank of Q-Link Knobs to adjust the end point.
Trim Mode includes a loop function. When on, the region of the sample between the loop point and end point will repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point. To adjust the loop point, do any of the following: • Use the Loop field. • Tap and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).
Use the MPC Touch pads (any bank) to play certain parts of the selected sample: • Play Loop (Pad 13) plays the sample repeatedly from the loop point to the end point. • Play Sample (One Shot) (Pad 10) plays the whole sample as it has been edited. Press the pad once to play it. • Play Sample (Note On) (Pad 11) plays the whole sample as it has been edited. Press and hold the pad to play it. Release the pad to stop playing it.
Use the Tune field to transpose the sample up or down from its original pitch. Tap From BPM to open the Calculate BPM 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 sample is now tuned to the sequence. To tune the sample to the sequence and adjust the sequence tempo, tap To Seq.
Assigning Samples You can assign your new sample directly to a pad from Trim Mode. To assign a sample, tap Assign at the bottom edge of the touchscreen 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 the 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. Leave this box unchecked to keep the unused parts of the sample when it is created and assigned.
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 touchscreen to open the Function window, which gives an overview of all available editing processes. The Process window in Trim Mode. You can use any of these functions as described below. To return to Sample Edit Mode, tap Cancel.
Discard This process deletes the regions before the start point and after the end point. Delete This process deletes the region between the start point and end point and closes the gap between them. Silence This process replaces the region between the start point and end point with silence.
Extract This 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. Normalize This process increases a sample’s level to the highest level possible without distortion.
Fade In This 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.
Time Stretch This 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.
Bit Reduce This 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 end(s) 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. Chop Mode.
Use the selector in the lower-left corner of the touchscreen to choose how you want to use Chop Mode: Manual This method lets you insert slices at locations you select. Threshold This method uses an adjustable detection algorithm that derives the number of slices created from the volume levels present in the sample. Use the Threshold field to set the threshold level. Alternatively, turn the second Q-Link Knob in the third bank. The higher the selected value, the more slices will be created.
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 your finger on 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 edge of the touchscreen to open the Convert or Assign Slices window. If you set the Convert To field to New 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 program with new samples, this will create a new sample from each slice and assign them to pads in a new program. The new program will be named after the sample and appended with ch. The new samples will be appended with SI-# (where # is a consecutive number). Check the Crop Samples box to delete the unused parts from the sample when they’re created and assigned. This feature is destructive, though the project will still contain your original sample.
If you set the Convert To field to Assign the 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 Make new sample, this will create a new sample in your project. (The original sample will remain as it is.) 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. Check the Crop Sample box to delete the unused parts from the sample when it’s created and assigned.
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 Number of Bars field to set how many bars long the patched phrase is meant to be.
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 touchscreen to open the Function window, which gives an overview of all available editing processes.
Silence This process replaces the region between the start point and end point with silence. Extract This 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. Normalize This process increases a sample’s level to the highest level possible without distortion.
Reverse This process reverses the region between the start point and end point. Fade In This 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.
Pitch Shift This process changes the pitch of the sample without changing its length. This lets you set the sample’s pitch to your sequence without affecting the sample’s tempo or duration. You can adjust it up to 12 semitones, up or down. Keep in mind that the audio quality may decrease at more extreme settings. Gain Change This process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower.
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 touchscreen. 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).
To turn the loop function on or off, tap the Loop button to cycle between the three modes: • Forward: When the loop reaches its end point, it will start playing again from the loop point. • Reverse: When the loop reaches its end point, it will play in reverse. When it reaches the loop point again, it will return to the end point and continue playing in reverse. • Alternating: When the loop reaches its end point, it will play in reverse.
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. Use the Slice field to display either the sample as it has been edited (Pad) or the entire sample (All). The Link Slices button does not work in Program Mode. 0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zerocrossings.” This can help to avoid clicks and glitches when playing a sample.
Assigning Samples You can assign your new sample directly to a pad from Program Mode. To assign a sample, tap Assign at the bottom edge of the touchscreen 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 the 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. Leave this box unchecked to keep the unused parts of the sample when it is created and assigned.
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 touchscreen to open the Function window, which gives an overview of all available editing processes.
Silence This process replaces the region between the start point and end point with silence. Extract This 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.
Normalize This process increases a sample’s level to the highest level possible without distortion. This is essentially a kind of digital gain optimization, so you do not have to worry about excessive level settings when working with samples with a wide range of amplitudes. Reverse This process reverses the region between the start point and end point. Fade In This process sets a fade-in between the start point and end point.
Fade Out This process sets a fade-out between the start point and end point. The following types are available: • Linear fades the audio out with a linear curve—a straight line between the start and end. • Log fades the audio out with a logarithmic curve—quickly rising at the start and flattening out towards the end. • Exp fades the audio out with an exponential curve—slowly rising in the beginning and growing steeper towards the end.
Settings The Settings window lets you select certain Sample Edit Mode settings. To view the Settings, tap the gear icon. The Settings window in Sample Edit Mode. 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. As you move the cue playhead through the sample waveform, you can set it to play the small part of the sample Before the cue playhead, play the small part of the sample After the cue playhead, or not play at all (Off). Use the Slice Preview selector to set if any audio plays as you move a slice marker.
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 Touch or to your computer’s audio interface. To open the Sampler, press Menu and then tap Sampler. Recording using the Sampler.
To record using the Sampler: 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 a microphone, audio player, etc. to the input(s) of your MPC Touch. 3. Turn the Rec Gain knob to set the input level while speaking into the microphone. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly). 4.
The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it. You can view it in Bars, Beats, and Ticks or in hours (HH), minutes (MM), seconds (SS), and frames (FF). The upper-left Input Source field defines whether you are going to record an external audio signal (External) or an internal signal from the software (Resampler).
Tap the Monitor button to enable or disable input monitoring. When on, the audio you hear in your headphones will be taken before it reaches the software, ensuring zero latency. When off, the audio you hear in your headphones will be taken after it is processed in the software, so there may be some latency, but you will hear the audio source as it sounds in the recording. Tip: To avoid possible clicks or feedback while input monitoring, reduce the level of the audio sources.
After you stop your recording, the Keep or Discard Sample window will appear. Keeping or discarding the recorded sample. 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.
You can record a sample while playing a sequence. This is helpful when you want to record a sample that is at the same tempo as a specific sequence. If you recorded a sample while a sequence was playing, the Keep or Discard Sample window will show a few additional options after you select a pad. Check the Add Event box to automatically add the sample to the currently playing sequence.
Pad Mute Mode Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad. To enter Pad Mute Mode, press Menu, and then tap Pad Mute. 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. Use the Program field at the top of the touchscreen to select a program. The counter indicates the current playhead position.
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, but probably more convenient than, muting pads one at a time in the grid. Pad Mute. 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. Pad Group. To use pad groups: 1. If the Pad Group tab in the lower-left corner is not already selected, tap it. 2.
Pad Mixer In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects. For drum programs, this mode shows a pad with controls for each individual pad (of 128). For keygroup programs, this mode has a pad for each individual keygroup (up to 128). For MIDI programs and plugin programs, this mode has no channel strips. For more information on how these programs differ, please see General Features > Programs. To enter the Pad Mixer, press Menu, and then tap Pad Mixer. The Pad Mixer.
The Pad Mixer works like an audio mixer with various settings for each pad, shown in a 4x4 array. All of their functionality is identical. If a sample has been assigned to a pad, its name is displayed at the top of it. To select a pad, press its corresponding pad or tap it on the touchscreen. Alternatively, use the Pad field in the upper-left corner. To view more channels, use the Pad Bank Buttons. Use the Program field in the upper-left corner to select the program whose pads you want to view.
When a channel is selected, you can view and adjust all of its settings in the left side of the touchscreen rather than using the tab buttons at the bottom edge. When viewing the channel strip: • The first field shows the current pad number, which you can change. • The second field shows where the pad’s audio is routed, which you can change. • The Inserts field shows any enabled or disabled insert effects for that pad.
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 in the touchscreen 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 in the touchscreen. 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 adjust the insert effect level of the currently selected pad. The level sliders in each pad show a visual representation of the level. Double-tap a pad in the touchscreen to open a large version of the level slider. 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.
Routing When the Route tab is selected, use the Data Dial or –/+ buttons to select the output of the currently selected pad.
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, press Menu, and then tap Next Sequence. Next Sequence Mode.
The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it. You can view it in Bars, Beats, and Ticks or in hours (HH), minutes (MM), seconds (SS), and frames (FF). The sequence playlist on the left side shows a list-style overview of all used sequences in your project: • The Sequence column shows the name of the song’s sequences.
As a sequence plays, you can use the buttons at the bottom edge of the touchscreen to change how playback works: • To switch to the currently selected sequence at the beginning of the next bar, tap Next Bar. This is useful if you want to switch to another sequence before the current one ends without having to worry about timing issues. • To switch to the currently selected sequence immediately, tap Sudden. The new sequence will start playing whether or not the current sequence is done.
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 requires you to use the software window rather than the touchscreen. Keygroup programs have slightly more parameters than drum programs. See the Keygroup Programs section to learn more.
Program Edit Mode lets you edit the parameters for each pad. To select a pad, press it. Its parameters will appear on the screen immediately. To view a specific tab of parameters, tap the Master, Samples, Pan Velocity, Filter Env, LFO Modulation, or Effects button on the bottom edge of the touchscreen. You can tap the Samples button multiple times to cycle through its four available sections. To turn Loop Lock on or off, tap the Loop Lock button.
Master In the Master tab, you can set the playback mode and tuning for the overall Program. The Master tab for a drum 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(s), the new pad will immediately mute all other currently playing pads in that program.
The Simultaneous Play section lets you set up to four pads that can be triggered by pressing one pad only. This function is useful for triggering a stack of sounds (e.g., layered bass drums). Use each Pad field to select the desired pad. The Mute Targets tab lets you select up to four pads for the currently selected pad. When the currently selected pad is played, it will immediately silence its mute targets. Use each Pad field to select the desired mute target.
Samples Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap the Samples button to cycle through its four available sections. The first Samples tab for a drum program. Use the Sample field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s sample pool beforehand. For information on how to load samples into a project, please see the Browser chapter.
Important: The parameters on the second, third, and fourth Samples tabs work in conjunction with Chop Mode (in Sample Edit Mode). Here’s how it works: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters. A Non-Destructive Slice will let its pad to refer to that slice when you press it; the original sample remains intact and each slice marker is like a “bookmark” for a pad.
Use the Slice field to select what part(s) of the sample will play: • All: The entire sample will play. • Pad: The sample will play from the Pad Start position to the Pad End position, described below. This also lets you activate Pad Loop. • Slice 1, 2, 3, etc.: If you have sliced the sample in Chop Mode, you can select which slice will play when you trigger the pad.
The third Samples tab for a drum program. Use the Pad Start slider to determine the position (in samples) where the pad’s playback will start. The minimum value is 0, and the maximum value is the Pad End value. Note: When Loop Lock is on, the loop position (as determined in the fourth Samples tab) is the same as the pad start. When off, the loop position is independent from the pad start. Use the Pad End slider to determine the position (in samples) where the pad’s playback will stop.
The fourth Samples tab for a drum program. Use the Pad Loop button to enable or disable Pad Loop. When enabled, you can hold down the pad to cause that sample to repeat from the Loop Position (Loop Pos) to the end of the sample. Release the pad to stop the repeating playback. Important: For Pad Loop to work, you must set Sample Play to Note On instead of One Shot. Use the Loop Position slider to determine the position (in samples) where the pad’s playback will repeat when Pad Loop is activated.
Pan Velocity The Pan Velocity tab of a drum program. 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. Set the values by doing one of the following: 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 The Filter Envelope tab of a drum program. 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.
Use the Env to determine the amount of influence the filter envelope has on the cutoff frequency. Higher settings will increase the modulation of the filter by the envelope; lower settings will result in only subtle changes of the filter Cutoff over time. Tip: To give a sound a more distinctive attack, increase the Env setting and set low Atk and Decay values as well as a medium-low Sust value of the Filter Envelope.
LFO Modulation The LFO Modulation tab of a drum program. The Modes controls let you set the behavior for each pad’s samples in a drum program. Use the Mute Group field to 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.
Use the Layer Play selector to determine 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 its layer’s samples at random.
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.
Effects The Effects tab of a drum program. 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. To learn how to use insert effects in the MPC software, 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.
To remove an effect from its slot, tap the trash can icon. To enable or disable the effect, tap the On/Off button for the slot. To enable or disable all four insert effects, tap the All On/Off button in the upper-right corner. 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. Editing an effect’s parameters.
The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The send effects will then return the audio at the designated return levels. Use the Send knobs to set the volume level of the signal the pad will route to each send effect. You can select up to four send 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.
Keygroup Programs For the current release, Program Edit Mode is available in the touchscreen for drum programs, plugin programs, and MIDI programs. For keygroup programs, use the software window. This part of the chapter describes how to use the software window to use Program Edit Mode with a keygroup program. The Program Edit Mode sections for a keygroup program in the software window.
Master In the Master section, you can set the playback mode and tuning for the overall program as well as the number of total key groups. Number of KG (keygroups) lets you create up to 128 keygroups within a keygroup program. This is very useful when working with multi-samples. For example, if you want to create a realistic piano, you can use different keygroups (e.g., 88 for a grand piano) with every keygroup containing its own sampled note (with up to 4 possible velocity layers).
Click the Automation button in the upper-right corner to switch the program’s automation between Off, Read (R), and Write (W). • When set to Off, the program will ignore automation data. If you have already recorded or entered automation, clicking the button will switch between Read (R) and Write (W) only, but you can override this and set it to Off by pressing and holding Shift on your computer keyboard while clicking the button.
Key Group Here, you can set additional keygroup program parameters. Tips: • The loaded sample’s root key will determine where the original pitch is located. For example, if the root key is C3, the original sample is located at Pad D13. • In a keygroup program, you can also use the pads on your MPC hardware to play samples assigned to keygroups. The 128 pads (A01 to H16) correspond to MIDI notes from from note number 0 to 127, allowing you to easily play a melody with a single sample over a wide range.
Semi lets you transpose the sample 12 semitones up or down, while Fine provides fine-tuning of each layer by fractions of a semitone up or down. Tip: The Edit Layers section has some parameters similar to those in this section (Level, Pan, Semi, Fine, Note Range). Remember that Key Group parameters control the overall settings for the sample, while Edit Layer parameters control the settings for each layer (up to 4).
Layers Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has separate parameters. Click the Sample drop-down menu to select the sample file for that layer. Remember that the sample has to be loaded into the project’s sample pool beforehand. 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.
Important: When working in Sample Edit Mode and using Chop Mode to divide a sample into slices for your pads, you can convert a slice using Non-Destructive Slice or Pad Parameters. A Non-Destructive Slice will let its pad to refer to that slice when you press it; the original sample remains intact and each slice marker is like a “bookmark” for a pad.
• Pad Start: Click and drag this field up or down to determine the position (in samples) where the pad’s playback will start. Alternatively, double-click the field and type in a number. The minimum value is 0, and the maximum value is the Pad End value. • Pad End: Click and drag this field up or down to determine the position (in samples) where the pad’s playback will stop. Alternatively, double-click the field and type in a number.
Pan adjusts the stereo placement of the respective layer. Velocity defines the velocity range of each layer. To set the values, click in the segment chain on the right side of the Layer area and drag its left and right ends to the desired values. 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 The Filter Type drop-down menu lets you select a filter for the selected pad. See Appendix > Glossary > Filter 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 Modulation Sources set the amount for different modulation. The following modulation sources are available: • Kbd>Flt (KeyboardFilter) sets how much aftertouch data (from a pad) is needed to modulate the cutoff frequency. • V>Atk (VelocityAttack) sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for the Amp envelope. • V>Env (VelocityEnvelope) enables velocity information to control the amount of the filter envelope’s effect on the cutoff frequency.
Velocity Sensitivity Here, you can set how much velocity affects various sound parameters: Pitch, Filter Envelope Attack (Atk), Volume (Amp) and Panning (Pan). When you press a pad softly, only minimal modulation is applied. When you press it harder, the modulation amount also gets stronger depending on the setting of the corresponding knob. LFO A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can be used for modulation purposes.
Controller Mod The Controller Mod section determines the influence of additional play controllers on various sound parameters. Important: To use these parameters, make sure that a connected MIDI device can send pitch bend messages as well as aftertouch and modulation wheel data. Pitch Bend sets the range (in semitones) of a connected MIDI keyboard’s pitch-bend wheel. Whl>LFO (WheelLFO) determines how much a connected MIDI keyboard’s modulation wheel affects the LFO intensity.
Insert Effects You can select up to four insert effects for each pad or keygroup or for the entire program. You can use various effects included in your MPC software as well as other VST and AU plugins installed on your computer. To learn how to use insert effects in the MPC software, please see General Features > Effects > Insert Effects. Important: When using keygroup insert effects, they will be applied to the entire keygroup program.
Plugin Programs For plugin programs, you will see an overview of all available parameters of your loaded virtual instrument with a slider for each. Program Edit Mode for a plugin program. Use the sliders to set the value of each parameter. Use the 6 tabs at the bottom edge of the touchscreen to access the available parameters.
MIDI Programs For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Program Edit Mode for a MIDI program. Use the sliders to set the value of each parameter. Use the 6 tabs at the bottom edge of the touchscreen to access the available parameters. To assign a parameter to one of the controls, use the software window: Click the drop-down menu above the corresponding knob, and select the desired MIDI CC number.
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. Keygroup programs always use AHDS envelopes. With AHDS envelopes, the following happens when you trigger a sample: 1. Within the period of time you have defined with the Attack (Atk) parameter, the sample volume rises to its maximum value. 2.
With AD envelopes, the following happens when you trigger a sample: 1. Within the period of time you have defined with the Attack (Atk) parameter, the sample volume rises to its maximum value. 2. The sample’s maximum volume will be maintained until its Decay phase, when the sample’s volume will gradually drop to zero over the set duration. Click the Type drop-down menu to select how the decay functions: • Decay From Start: The volume will start decreasing immediately after reaching its maximum level.
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, press Menu, and then tap Looper. Recording in the Looper.
To get started using the Looper: 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 a microphone, audio player, etc. to the input(s) of your MPC Touch. 3. Turn the Rec Gain knob to set the input level while speaking into the microphone. You should now see the level in the meter. Make sure it does not exceed the maximum level (the meter should not be “peaking” constantly). 4.
The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it. You can view it in Bars, Beats, and Ticks or in hours (HH), minutes (MM), seconds (SS), and frames (FF). The upper-left Input Source field defines whether you are going to record (External L) channel, right (External R) channel, or both (External L+R).
Use the Thresh slider to adjust the threshold. Alternatively, turn the bottom-most Q-Link Knob. When the Looper is record-armed, the software automatically starts recording when the level of the incoming source exceeds this setting. If you set it 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 it too low, the recording may start too early, before you play the external source.
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 play or stop the loop (without recording), tap the /Play button on the touchscreen. To reverse loop playback, tap Reverse. If Sync is on, playback will reverse once the Looper’s playhead reaches the end of the loop. If Sync is off, playback will reverse immediately. To erase the loop immediately, tap Clear. 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.
Track Mute Mode Track Mute Mode lets you easily mute tracks within a sequence or set mute groups for each track. To enter Track Mute Mode, press Menu, and then tap Track Mute. There are two tabs you can view in this mode: Track Mute or Track Group. Tap each button in the lowerleft corner to select it. See the following Track Mute and Track Group sections to learn about each. Use the Sequence field at the top of the touchscreen to select a sequence. The counter indicates the current playhead position.
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 Track View. Track Mute. 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. Track Group. To use track groups: 1. If the Pad Group tab in the lower-left corner is not already selected, tap it. 2.
Channel Mixer In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes, and masters. To open the Channel Mixer, press Menu, and then tap Channel Mixer. The Channel Mixer. The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Their functionality is mostly identical. The name of the track, program, or channel displayed at the top of it.
The following controls and tabs are available for all of the mixers (or most of them, as indicated): To select a channel, press its corresponding pad or tap it on the touchscreen. Alternatively, use the field in the upper-left corner. To view more channels (while viewing tracks of programs), use the –/+ buttons at the top of the touchscreen or the Pad Bank Buttons. The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons.
Mute When the Mute tab is selected, mute the currently selected track, program, return, submix, or master by doing any of the following: • Turn the Data Dial. • Use the –/+ buttons. • Press the pad. • Tap the pad in the touchscreen. When a track, program, return, submix, or master is muted, its M button will light red. Send Levels (Programs and Submixes only) When the Send tab is selected, use the Data Dial or –/+ buttons to adjust the send level of the currently selected program or submix.
Insert Effects (Programs, Returns, Submixes, and Masters only) When the Insert tab is selected, use the Data Dial or –/+ buttons to adjust the insert effect level of the currently selected program, return, submix, or master. The level sliders in each pad show a visual representation of the level. Double-tap a pad in the touchscreen to open a large version of the level slider. You can select up to four insert effects for each program, return, submix, or master.
Track Mixer The track mixer shows levels, panning, and mute states for all used tracks. To view a specific setting on all tracks, tap the Level, Pan, or Mute button on the bottom edge of the touchscreen. When a track is selected, you can view and adjust all of its settings in the left side of the touchscreen rather than using the tab buttons at the bottom edge. When viewing the track channel strip: • The first field shows the current track, which you can change.
Program Mixer The program mixer shows levels, panning, mute states, send and insert effects, and routing for all used tracks. To view a specific setting on all programs, tap the Level, Pan, Mute, Send, Insert, or Route button on the bottom edge of the touchscreen. You can tap the Send or Insert buttons multiple times to cycle through the four available slots for each.
• To change the program’s automation, tap the automation button to cycle through its three states: o 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.
Return Mixer Pads and programs can each be sent to up to 4 send channels. Their audio signals will be routed to the send channels at their designated send levels. After being processed by the effect(s) on those channels, their signals are then sent back based on their return settings (levels, panning, etc.). This view displays the 4 return channels. The return mixer shows levels, panning, mute states, insert effects, and routing for all used tracks.
Submixer The submixer shows levels, panning, mute states, send and insert effects, and routing for the 8 available submixes. To view a specific setting on all submixes, tap the Level, Pan, Mute, Send, Insert, or Route button on the bottom edge of the touchscreen. You can tap the Send or Insert buttons multiple times to cycle through the four available slots for each.
Master Mixer The master mixer shows levels, panning, mute states, and insert effects for all used stereo pair of outputs. To view a specific setting on all outputs, tap the Level, Pan, Mute, or Insert button on the bottom edge of the touchscreen. You can tap the Insert button multiple times to cycle through the four available slots. When viewing the master channel strip: • The first field shows the current pair of outputs, which you can change.
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, press Menu, and then tap Song Mode. Song Mode.
Use the Song field to select the song you want to show. Use the BPM field to adjust the tempo of the sequence. To set whether the sequence follows its own tempo or a master tempo, tap the Seq/Mst button next to the BPM field. Alternatively, press and hold Shift+Tap Tempo. The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it.
Each used sequence is assigned to a pad. Empty pads correspond to unused sequences. You can use the Pad Bank buttons to access the sequences assigned to pads in other banks. To insert a step: 1. Tap a step in the sequence playlist after which you want to insert a step. 2. Tap Insert in the lower-right corner of the touchscreen. 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.
Browser The browser lets you navigate 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 it to your preferred workflow. You can also audition (preview) your samples before loading them. To show the Browser, do any of the following: • Press Shift+Menu/Browse. • Double-press Menu/Browse. • Press Menu and then tap Browser. Viewing folders in the Browser. Viewing files in the Browser.
When the Project tab is selected, you can do any of the following: • To move to the previous folder, tap the up (∧) button in the upper-left corner. • To enter another hard disk, double-tap the file path field at the top of the touchscreen. In the list that appears, tap the desired location. Alternatively, tap the file path field and then use the Data Dial or the –/+ buttons to select a location. • To move through a list, swipe up or down. • To select a file or folder, tap it.
You can use the filter buttons to show only specific types of files in the Browser. The selected button will be underlined red. Projects • To show project files only, tap the P/page icon. • To show sequence files only, tap the bars icon. • To show program files only, tap the four-squares icon. • To show sample files only, tap the waveform icon. • To show all file types, tap All.
When the Samples tab is selected, you can do any of the following: • To move through the Sample Pool, swipe up or down. • To preview a selected sound in the Sample Pool, tap Play () at the bottom of the touchscreen. • To select another program, double-tap the Program field at the top of the touchscreen. In the list that appears, tap the desired program. Alternatively, tap the Program field and then use the Data Dial or the –/+ buttons to select a location.
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, press Menu, and then tap Pad Perform while using a keygroup program, MIDI program, or plugin program. Pad Perform Mode. The display will show the current pad bank’s mapping of notes or chords.
The counter indicates the current playhead position. To adjust the position, tap it, and then use the use the Data Dial or the –/+ buttons. To switch the time increments, double-tap it. You can view it in Bars, Beats, and Ticks or in hours (HH), minutes (MM), seconds (SS), and frames (FF). 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.
Chromatic Chords in Pad Perform Mode. Progressions in Pad Perform Mode. 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 in the display) to indicate where the scale starts in each octave. • Scale Type: This is the scale or mode based on the root note.
Use the Chord fields to determine what chord type will play when pressing a pad. The resulting chord will use those scale degrees based off of the pad’s root note. You can use this only when the Type is set to Chords or Chromatic Chords.
Pad Color Mode Pad Color Mode lets you assign specific colors to your pads in each program. To enter Pad Color Mode, press Menu, and then tap Pad Color. Pad Color Mode. Use the Program field to select the program whose pad colors you want to set.
Use the field in the upper-left corner to set how the pad lights will display: • Off: The pads will be unlit whether you are playing them or not. • Classic Velocity: The pads will be unlit while you are not playing them. When you press them, they will light with colors according to the velocity: red indicates a high velocity, yellow indicates a low velocity. • Fixed: The pads will be lit with their assigned colors whether you are playing them or not.
Appendix Effects and Parameters This chapter lists the available effects in the software. To learn more about how effects work in the software, 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 Medium Value Range Default Value Dry/Wet 0–100 (dry–wet) 50 Pre-Delay 1–100 50 Early Reflection 0–100 50 Density 0–100 50 Diffuse 0–100 50 Decay 0–100 50 Lo-Cut 0–100 15 Hi-Cut 0–100 10 Reverb Large Parameter Value Range Default Value 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. Options: Delay Mono, Delay Mono Sync, Delay Stereo, Delay Sync (Stereo), Delay LP, Delay HP, Delay Analog, Delay Analog Sync, Delay Tape Sync, Delay Ping Pong, and Delay Multi-Tap.
Delay Stereo Stereo Delay operates similarly to Mono Delay but in true stereo. 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 lowpass filter in the delay line.
Delay HP HP Delay is identical to the Mono Delay, but it uses a resonant highpass filter in the delay line. Delay Analog Analog Delay is similar to the Mono Delay, except that it’s designed to emulate 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 Analog Sync Analog Delay is similar to Mono Delay, except that it’s designed to sound like an analog “Bucket Brigade”-style delay.
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 Ping Pong This stereo delay allows you to set different delay times for its left and right repeats.
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.” Options: Flanger and Flanger Sync.
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. Options: Chorus 2-Voice and Chorus 4-Voice.
Autopans This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect. Options: Autopan and Autopan Sync.
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). Options: Tremolo and Tremolo Sync.
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. Options: Phaser 1, Phaser 2, and Phaser Sync.
HP (High-Pass) Filters Options: HP Filter, HP Filter Sweep, HP Filter Sync, and HP Shelving Filter. HP Filter Parameter Value Range Default Value This effect is a static filter without modulation. Frequency 10–19999 Hz 1500 Resonance 0–100 0 Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 80 Low Frequency 0–100 50 High Frequency 0–100 100 Resonance 0–100 33 Rate 0–100 10 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. HP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally. Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Low Frequency 0–100 0 High Frequency 0–100 100 Resonance 0–100 50 Rate 8 bars – 1/32 1/4 Parameter Value Range Default Value Frequency 10–19999 Hz 1500 Resonance 0–100 0 Gain -18.0 – 18.
LP (Low-Pass) Filters Options: LP Filter, LP Filter Sweep, LP Filter Sync, and 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. LP Shelving Filter This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally. Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Low Frequency 0–100 0 High Frequency 0–100 100 Resonance 0–100 50 Rate 8 bars – 1/32 1/4 Parameter Value Range Default Value Frequency 10–19999 Hz 1500 Resonance 0–100 0 Gain -18.0 – 18.
Parametric EQs Options: PEQ 2-Band, 2-Shelf and 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.
PEQ 4-Band This effect is a powerful four-band parametric equalizer with four independent EQ ranges. 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 5 Q2 0–100 5 Q3 0–100 5 Q4 0–100 5 Gain 1 -18.0 – 18.0 dB 0.0 Gain 2 -18.0 – 18.0 dB 0.0 Gain 3 -18.0 – 18.0 dB 0.0 Gain 4 -18.0 – 18.0 dB 0.
Distortions Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, and Distortion Custom. Distortion Amp Parameter Value Range Default Value Dry/Wet 0–100 (dry–wet) 100 Drive 0–100 50 Tone 0–100 50 Dynamics 0–100 50 Output 0–100 50 Distortion Fuzz Parameter Value Range Default Value 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. Distortion Overdrive This distortion is designed to sound like a mildly distorting amplifier at medium volumes. It is the smoothest distortion type available.
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.
Compressors A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain. Options: Compressor Master, Compressor Opto, Compressor VCA, and Compressor Vintage.
Compressor VCA This compressor is more modernsounding, with a slightly more transparent sound. A VCA Compressor tends to have quicker attack and release times than an Opto Compressor.
Bit Reducers Options: Decimator and Resampler. 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. Resampler Resampler is similar to Decimator in that it removes bits from an incoming signal.
Other Options: Auto Wah, Frequency Shifter, and Transient Shaper. 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.
Transient Shaper A transient shaper can be used to enhance or soften the Attack and Release phases of audio material.
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.
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.
Note On and Note Off This is the most important MIDI message. It determines the pitch and velocity of a generated note. A note-on message will start a note. Its pitch is derived from the note number, which can range from 0 to 127. The velocity lies between 1 and 127. A velocity value of 0 is equivalent to a note-off message. Normalize Normalization is a function to raise the level of a sample to its maximum (0 dB) without causing distortion.
Release An envelope parameter. This term describes the descent rate of an envelope to its minimum value after a trigger is terminated. The release phase begins immediately after the trigger is terminated, regardless of the envelope’s current status. For instance, the release phase may be initiated during the attack phase. Resonance Resonance or emphasis is an important filter parameter. It emphasizes the frequencies around the filter cutoff frequency by amplifing them with a narrow bandwidth.
Song The software has a special Song Mode that allows you to arrange different sections (verse, chorus, hook, etc.) in order to build a song. Each song can have up to 999 “steps” (stages in which a sequence may play one or more times). Each project can store up to 32 songs. Sustain This term describes the level of an envelope remaining constant after it has passed the attack and decay phases. Once reached, the sustain level is kept until the trigger is terminated.
Trademarks and Licenses Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. AAX and RTAS are trademarks or registered trademarks of Avid Technology, Inc. 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.
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