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This user guide describes some of the main features in the MPC 2.0 beta software release. This is a work in progress.
This beta release can be controlled by MPC X, MPC Live, and MPC Touch. Support for MPC Renaissance, MPC
Studio (black and standard models), and MPC Element will be in the official MPC 2.0 public release.
We will be continuing to improve the MPC software (and this user guide) over the beta period. You can use the beta
feedback button () on the MPC software status bar to suggest a feature, report a bug, or give feedback.
User Guide
English
Table of Contents
Introduction ............................................................ 4
Edit .................................................................... 32
System Requirements & Product Support ...... 4
Tools .................................................................. 34
About This User Guide ...................................... 5
View ................................................................... 35
Important Notes ................................................. 5
Help ................................................................... 36
Setup ................................................................... 6
1. Connection .................................................. 6
2. Installation ................................................... 6
3. Getting Started ............................................ 7
Tutorial / Basic Concepts ...................................... 8
Starting Up ......................................................... 8
Creating a Drum Kit ........................................... 8
Creating a Drum Sequence .............................. 9
Toolbar ........................................................... 37
Inspector ........................................................ 39
Sequence .......................................................... 39
Track ................................................................. 39
Program ............................................................. 40
Channel Strips ................................................... 41
Browser .......................................................... 44
File Browser ....................................................... 44
Expansion Browser ............................................ 45
Organizing Samples ........................................ 10
Media Browser ................................................... 45
Editing Note Events ......................................... 11
Editors ............................................................ 46
Making Basic Sound Edits .............................. 13
Grid Editor ......................................................... 47
Creating a Bass Track ..................................... 14
Wave Editor ....................................................... 49
Recording an Audio Track .............................. 16
List Editor........................................................... 50
Creating a Song ............................................... 17
Panels ............................................................. 51
Exporting the Song .......................................... 17
QLinks ............................................................... 51
Other Features Explained ............................... 18
Pads .................................................................. 51
Step Sequencer ............................................. 18
Program Editor ................................................... 52
Drum Loops & Chop Mode ........................... 19
Parameters ........................................................ 52
Pad Muting & Track Muting........................... 20
Sampling (Recording) .................................... 21
Sample Editing .............................................. 22
Recording Automation with Q-Link Knobs ... 23
Using MPC as a Plugin.................................. 23
Operation .............................................................. 24
General Features ............................................. 24
Programs ....................................................... 24
About Programs ................................................. 24
Drum Programs ................................................. 25
Keygroup Programs ........................................... 26
Plugin Programs................................................. 27
MIDI Programs ................................................... 28
Clip Programs .................................................... 29
CV Programs ..................................................... 30
Menu .............................................................. 31
Project ............................................................... 53
Sampler & Looper .............................................. 53
Pad Banks & Mute ............................................. 53
Sequence List .................................................... 54
Performance Controls ........................................ 54
Song Parameters ............................................... 54
Preferences .................................................... 55
Time Correct .................................................. 59
Metronome ..................................................... 60
Editing Processes .......................................... 61
Audio Region ..................................................... 61
Sequence .......................................................... 62
Track ................................................................. 66
Program ............................................................. 67
Automation ..................................................... 69
Global ................................................................ 69
Programs & Audio Tracks................................... 69
File ..................................................................... 31
2
16 Level ......................................................... 70
Next Sequence Mode .................................. 120
Pad Color....................................................... 71
Song Mode ................................................... 121
Audio Mixdown .............................................. 72
MIDI Control Mode ....................................... 122
Modes ............................................................... 73
Pads ................................................................ 123
Main Mode..................................................... 74
Buttons ............................................................ 123
Track View ..................................................... 75
Q-Link Knobs ................................................... 124
Program Edit Mode ....................................... 76
XY Pad............................................................. 124
Drum Programs ................................................. 76
Appendix .............................................................. 125
Keygroup Programs ........................................... 81
Effects & Parameters ..................................... 125
Clip Programs .................................................... 87
Reverbs ........................................................ 125
MIDI Programs ................................................... 88
Delays ........................................................... 127
CV Programs ..................................................... 88
Flangers........................................................ 130
Anatomy of an Envelope .................................... 89
Chorus .......................................................... 130
Sample Edit Mode ......................................... 90
Autopans ...................................................... 131
Trim Mode ......................................................... 91
Tremolos ...................................................... 131
Chop Mode........................................................ 97
Phasers ........................................................ 132
Program Mode ................................................. 103
HP (High-Pass) Filters .................................. 132
Pad Mixer .................................................... 107
Channel Mixer.............................................. 108
Step Sequencer ........................................... 109
Sampler ....................................................... 110
Sample ............................................................ 112
Slice ................................................................. 113
Pad Tap ........................................................... 114
Pad Hold.......................................................... 114
Looper ......................................................... 115
LP (Low-Pass) Filters ................................... 133
Parametric EQs ............................................ 134
Distortions .................................................... 135
Compressors ................................................ 136
Bit Reducers................................................. 137
Other ............................................................ 138
Glossary........................................................... 139
Trademarks & Licenses ................................. 143
Pad Mute Mode ........................................... 118
Pad Mute ......................................................... 118
Pad Group ....................................................... 118
Track Mute Mode ........................................ 119
Track Mute....................................................... 119
Track Group ..................................................... 119
3
Introduction
Thanks for choosing the MPC software. Fusing Akai Professional’s legendary MPC workflow with the multi-core
processing power of your computer, the MPC software is an unrivaled instrument for music production.
MPC 2.0’s redesigned GUI offers a vastly improved creative experience that enhances MPC’s revered workflow.
Combining a reimagined mixer layout outfitted with resizable faders, an adaptive channel strip, a dedicated audio
track editing window, resizable waveform view and much more, MPC 2.0 presents the ultimate platform for
unrestricted creative versatility alongside must-have tools that deliver unprecedented surgical control.
For mixing, users can automate any effect, instrument or mixer parameter. With its advanced signal routing capability—
submixes, effect returns, multi-output plugin support (up to 16 stereo outputs) and more—there is virtually no limit to
the versatility on tap for the artist.
With MPC 2.0, total-command of user’s audio is possible courtesy of a new real-time time-stretching and pitch
shifting algorithm. Change the duration of any audio region, drum/keygroup sample or clip to match the tempo of
your project with MPC software’s real-time time-stretching; or, use real-time high quality pitch shifting to change the
pitch of any audio region, drum/keygroup sample or clip for creative manipulation or to change the key of the source
material. MPC 2.0 makes it easy to manipulate the time and pitch of any source material: a chopped vocal in an
audio track, a drum loop in a clip program or an orchestral phrase loaded into a chromatic sampler program.
For performers, MPC 2.0 brings their presentation to the next level. MPC software’s all-new clip program mode
powered by MPC’s real-time warping algorithm provides users with an intuitive clip launch workflow and the ultimate
platform for creative versatility. Features like enhanced Q-Link functionality for precision control mapping of MPCs
editable functions and selectable hardware outputs providing seamless assimilation into multiple usage scenarios
make MPC 2.0 a powerful creative tool.
Welcome to the MPC family.
Akai Professional
System Requirements & Product Support
For the latest information about this product (system requirements, compatibility information, etc.) and product
registration, visit akaipro.com.
For additional support, visit akaipro.com/support.
4
About This User Guide
This manual describes some of the main features in the MPC 2.0 beta software release. 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.
Examples: Click the Play Start button.
Turn Q-Link Knob 4.
Click the Mute button.
The Velocity ranges from 0 to 127.
Set the Sample Play selector to One Shot.
Click BPM, and then use the numeric keypad to enter 120 as the tempo.
Some parts of this manual refer to other relevant chapters or sections, which are cited in bold, italic blue characters.
Examples: Read the Important Notes section before proceeding.
For more information about installing the necessary drivers and software, please see the Installation
section.
To learn more about using send effects, see General Features > Effects > Send/Return Effects.
Important Notes
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 in another digital
audio workstation (DAW).
Before connecting your MPC controller hardware to your computer, make sure you have installed the latest drivers and
software. Visit akaipro.com to download the latest versions. Refer to the Installation section for more information.
5
Setup
1. Connection
Here is just an example of how to use your MPC controller hardware in your setup (MPC Live, in this case). Items not
listed under Introduction > Box Contents of your included quickstart guide are sold separately.
SD Card
Powered Monitors
USB
drive
Turntable
Computer
Power (optional)
2. Installation
1. Go to akaipro.com and register your product. If you don’t have an Akai Professional account yet, you will be
prompted to create one.
2. In your Akai Professional account, download the MPC software package.
3. Open the file and double-click the installer application.
4. Follow the on-screen instructions to complete the installation.
Note: By default, the MPC software will be installed in [your hard drive]\Program Files\Akai Pro\MPC (Windows®)
or Applications (Mac® OS X®). You can also create a shortcut on your Desktop.
6
3. Getting Started
1. Power on your MPC controller hardware.
2. On your computer, open the MPC software.
3. Follow the on-screen instructions to authorize your version of MPC.
4. You will need an iLok account and iLok License Manager to complete this. You can create an account and
download the license manager at ilok.com.
Make a note of the PACE code in your account, and enter it when asked for it during the authorization/unlock
process.
5. MPC X & MPC Live users: Check the upper-right corner of the window:
•
If there is a monitor/cable icon under the battery icon, then your MPC controller
hardware is already in Controller Mode. Continue to Step 6.
•
If there a chip icon under the battery icon, then your MPC controller hardware is in
Standalone Mode. Follow these steps:
i.
Press Menu to enter the Menu.
ii.
Tap the MPC chip icon in the upper-right corner.
iii.
In the Enter Controller Mode window that appears, tap Controller Mode.
Looking for computer may appear briefly in the window before your MPC
controller hardware recognizes the USB connection as a controller.
6. 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.
Important:
We highly recommend using your MPC controller hardware’s sound card (Akai Pro [your MPC model] ASIO). If
you need to use the internal sound card on a Windows computer, we recommend downloading the latest
ASIO4ALL driver at asio4all.com.
7
Tutorial / Basic Concepts
This chapter should help you to familiarize yourself with some basic features in the MPC software. To get the most
out of this chapter, we recommend reproducing each of the described steps.
On the following pages we will create a short song to show you some of the MPC software’s most important features.
Starting Up
Make sure you have completed all of the steps described in Introduction > Setup. This includes:
•
Installing the most current drivers and software.
•
Connecting your MPC controller hardware to a power outlet using the included power adapter and powering it on.
•
Opening and authorizing your MPC software.
Creating a Drum Kit
Let’s start by making a simple drum kit.
By default, the Browser is shown on the right side of the window.
To show or hide the Browser, do one of the following:
•
Click the six-rectangles icon, list icon, or hard-drive icon in the lower-right corner.
•
Click the Menu icon (≡), and go to View > Browser and click: Hidden (to hide the Browser), File Browser
(to show files in the Browser), Expansion Browser (to show your Expansions in the Browser), or Media
Browser (to show your media in the Browser).
•
On your keyboard, press F (to show files in the Browser), X (to show your Expansions in the Browser), or B
(to show your media in the Browser).
Use the Browser controls to navigate to where your drum sounds are located:
•
To browse your files by location, select the File Browser.
•
To move up one folder level, click the  icon next to the file path.
•
To select a file or folder, click it once.
•
To enter a folder, double-click it.
•
To load a sample directly to a pad, click and drag the sample onto a pad in the lower half of the window.
•
To load a selected file to the project’s sample pool, double-click it. If the file is a sample, it will be loaded
to the project’s sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you
want to close your current project).
•
To load all files in a selected folder, click and drag the folder onto anywhere in the window outside of the
Browser.
•
To preview a selected sound, click and hold Play () in the lower-left corner of the Browser.
•
To enable or disable the audition function and set its volume level, click the volume icon in the lower-left
corner of the Browser. Click and drag the level slider left or right to set the volume level.
If you loaded samples into the sample pool rather than directly to the pads, then let’s start assigning them now:
To load a sample directly to a pad, click and drag it from the Samples in the lower half of the window onto a pad.
To create a simple drum kit, repeat the above steps for other pads. We recommend loading a snare drum, a closed
hi-hat, and an open hi-hat.
8
Creating a Drum Sequence
Now that your drum kit is set up, let’s record a drum sequence using your MPC controller hardware.
1. In the MPC software, click the house icon in the upper-left corner to make sure you’re in Main Mode.
2. On your MPC controller hardware, press Tap Tempo repeatedly at the speed you want to record your sequence.
The software will detect the rate and adjust itself automatically.
3. Press the Rec button to activate Record Mode.
4. Press the Play button to start the actual recording. The pre-count will count one measure before the sequence
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.
5. Play a simple bass drum pattern. The note events you just recorded will automatically be placed in the grid (in
this case, on 16th notes). The initial measure length is two bars. After the two bars, the recording will enter
Overdub Mode automatically; the sequence plays again from the beginning and keeps looping, allowing you to
record further notes. Don’t stop the recording!
6. Play the snare drum part, then a hi-hat part.
7. When you’re done recording, press Stop.
If you start recording again on this sequence, keep in mind that the pads you play in your new recording will
automatically replace existing notes played with the same pads. To prevent this, you can start again from Step 1 but
press Overdub instead of Rec. Overdub lets you record additional note events over the existing sequence.
The Undo button functions differently while in Record Mode. Normally, pressing Undo will undo just the last event.
When there is an event to undo, the Undo button will be lit solid. While recording, the Undo button will flash. In this
case, pressing Undo will erase all events from that recording (i.e., since Play or Play Start was clicked).
9
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, do one of the following:
•
In the “inspector” on the left edge of the window, double-click the name of the program under Program,
type a name, and press Enter.
•
In the Project panel, under the Programs list, right-click the program, and click Rename. Type a name.
Press Enter or click OK to confirm the name, or click Esc or click Cancel to keep the original name.
To rename your samples:
1. In the Project panel, do one of the following:
•
Click All Samples.
•
Click a program in the Programs list.
•
Click a sequence in the Sequence list or a program under one of those sequences.
2. In the Samples list on the right side of the Project panel, right-click the sample, and click Rename.
3. Type a name (e.g., Kick, Snare, etc.). Press Enter or click OK to confirm the name, or click Esc or click Cancel
to keep the original name and press Enter.
Repeat the above steps to rename other samples.
Now would be a good time to save your project.
To save your project, do one of the following:
•
Click the Menu icon (≡), click File, and click Save Project.
•
Press Ctrl+S (Windows) or +S (Mac OS X).
In the Save Project window, do any of the following:
To select the storage device you want to view,
click the  icon net to the file path. If you have
storage devices connected to your MPC
controller hardware, they will appear in this
column, as well.
To enter a folder, double-click it or press Enter.
To create a new folder, click New Folder, type a
name for the new folder, and then press Enter or
click OK to confirm the name, or press Esc or
click Cancel to keep the original name. You will
immediately enter the new folder.
To move up one folder level, click the  icon.
To name the file, click the File field at the bottom of the window, and type a name.
To save the project as a template when you save it, click Save As Template to check or uncheck the option.
To save the file, press Enter or click Save.
To cancel, press Esc or click Cancel.
10
Editing Note Events
In the grid, you can see your recorded notes (or note events) as a sequence.
To enter the Grid Editor, click Grid under the mode icons in the upper-left corner of the window. Alternatively, press
Shift+G.
In the Grid Editor, you can do any one of the following:
•
To zoom in or out, use the sliders in the lower-right corner of the grid (along each axis). Alternatively, press
Ctrl+/ or Ctrl+/ (Windows) or +/ or +/ (Mac OS X).
•
To undo your last action, do one of the following:
•
o
Press Ctrl+Z (Windows) or +Z (Mac OS X).
o
Click the undo/back-arrow icon in the upper-right corner of the grid.
o
Click the Menu icon (≡), click Edit, and click Undo.
To redo the last action you undid do any one of the following:
o
Press Ctrl+Z (Windows) or +Z (Mac OS X).
o
Click the redo/forward-arrow icon in the upper-right corner of the grid.
o
Click the Menu icon (≡), click Edit, and click Redo.
•
To enter a note, tap the pencil icon above the grid. Then, in the grid, click a square.
•
To delete a note, tap the eraser icon above the grid. Then, in the grid, click a note.
•
To select a single note, click the pencil icon or select box icon above the grid. Then, in the grid, click the note.
To select all notes for a pad, click the desired pad in the Pads area below the grid, or on the left edge of
the grid.
•
To move the selected notes, click the pencil icon or select box icon above the grid. Then, in the grid, click
and drag the note to the desired location. Alternatively, press  or . By default, you can position notes only
by quantization values defined by the Time Correct value (learn about this feature in Operation > Modes >
Main Mode).
To move the selected notes without restricting (“snapping”) them to the quantization grid, click and
drag the note while holding Shift. Alternatively, press Shift+ or Shift+.
11
•
To adjust the start point or end point of the selected notes (without changing their position), click the
pencil icon or select box icon above the grid. Then, in the grid, hover the cursor over the left or right edge
of the note. When the cursor changes into a bracket with arrows ([ or ]), click and drag the edge of
the note to the desired length.
•
To transpose the selected notes up or down, click and drag the notes up or down.
•
To switch to another track, do one of the following:
o
In the inspector on the left edge of the window, click the track name, and click the desired track in the
menu that appears.
o
Press Ctrl+[ (Windows) or +[ (Mac OS X) to switch to the previous track or Ctrl+] (Windows) or +]
(Mac OS X) to switch to the next track.
o
Click the Menu icon (≡), go to Edit > Redo, and click Next Track or Previous Track.
o
Click and drag the Current Track Q-Link knob (in the QLinks panel below the grid) up or down.
•
To mute or solo the track, click the three-bars icon (track) in the lower-left corner of the window to show
the track channel strip (on the left), and then click M or S (respectively) on the track channel strip.
•
To open the Time Correct window, do one of the following:
o
Press Ctrl+Shift+T (Windows) or +Shift+T (Mac OS X).
o
Click the Menu icon (≡), go to Edit > Time Correct, and click Settings.
This feature is described in Operation > General Features > Time Correct.
Tips:
To adjust the time division only, click the TC field at the top of the window, and click one.
To adjust the amount swing only, click and drag the Swing field at the top of the window up or down (or
click it, type a value, and press Enter).
•
To adjust the metronome settings, go to Tools > Metronome. This feature is described in Operation >
General Features > Metronome.
Tips:
To activate or deactivate the metronome, click the metronome icon at the top of the window.
To adjust the metronome volume only, click and drag the Metro meter at the top of the window up or down.
•
To adjust the velocity of the selected notes (manually), click Velocity in the automation lane below the grid
to select it, and then click and drag the handle/handles below the note/notes. Each note’s velocity is
represented by a vertical bar. The higher and more red the bar is, the higher the velocity is. The current
velocity value will appear next to the cursor.
•
To show or hide the velocity lane, click the up or down arrow (∧ or ∨) button next to the horizontal scroll
bar under the grid.
12
Making Basic Sound Edits
Let’s make sure the samples are properly tuned and have good levels.
Click the four-pads icon in the toolbar or press Ctrl+3 (Windows) or +3 (Mac OS X) to enter Program Edit Mode.
Click a pad to show its parameters in the window.
To adjust its volume, click and drag the Level knob in the Pad section up or down.
To adjust its stereo panning, click and drag the Pan knob in the Pad section up or down.
Adjust the level of each pad to suit your taste. We recommend spreading the panning of the bright sounds (e.g.,
cymbals, snare drum) a little. Additionally, you can tune the bass drum sound—in the Sample Layers section, adjust
the Semi and Fine knobs next to the sample name.
The snare drum may need some reverb to give it a more spatial sound.
Click the pad icon in the lower-left corner of the window to show the pad channel strip above it. Press the pad with
your snare drum sound to select it.
To add an effect:
1. Click the arrow () in the desired effect slot. A list of effects will appear.
2. Click the + or – icon to expand or collapse each category of effect.
3. To load an effect, double-click it. Alternatively, click it to select it and then click Select. Let’s try Reverb
Medium.
To adjust the effect’s parameters, double-click the effect name in the slot.
To empty the effect slot, load an effect but select <none> instead. Switch the effect on or off by clicking the On/Off
button for the slot.
13
Creating a Bass Track
Let’s try recording a bass line. Unlike a drum kit, it’s important to be able to play and record a bass sound
chromatically, so this will be slightly different than setting up the drum kit.
Adding a bass line over the drum part means we need to work on a new track. A track is simply a layer of a sequence.
Each track uses a program within your project. You can work with multiple tracks in a single sequence (e.g., a drum
track, a bass track, a piano track, etc.). When you play the sequence, all of them will play simultaneously.
First, let’s make an empty track.
To select a new track:
In the inspector on the left edge of the window, click the Track field, and click Track 2 (unused) in the list of
tracks that appears.
Alternatively, Press Ctrl+] (Windows) or +] (Mac OS X) to select the next (unused) track.
Let’s create a new program for this track to use.
To create a new program:
1. In the inspector on the left edge of the window, click the + icon next to the Program field.
2. In the Track information above it, click the piano-keys icon. This makes the program a keygroup program,
which is necessary to play the bass sound chromatically with the pads. (If the Track information is collapsed,
click the > icon to expand it.)
3. Double-click the new program name, type a name, and press Enter.
To load and edit a bass sound:
1. Use the Browser on the right edge of the window to navigate to where your bass sounds are located, and load
one to the project’s sample pool.
2. After loading a bass sample to the sample pool, don’t click and drag the sample onto a pad like you did when
creating a drum program; keygroup programs are different.
Instead, make sure you are in Program Edit Mode: click the four-pads icon in the toolbar or press Ctrl+3
(Windows) or +3 (Mac OS X).
3. In Program Edit Mode, click the first menu (Layer 1) in the Sample Layers section, and then click your bass
sample in the list that appears. Because you’re working with a keygroup program instead of a drum program,
this sample is now playable across all pads.
Tip: If you click Pad Bank D in the Pads panel and and click Pad 13, you should hear the bass sample played
back with its original pitch. You can use the other pads to play your sample chromatically.
14
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. Use the Browser to select a different bass sample that sounds similar but a little bit brighter, and load it to the
project’s sample pool.
2. Return to Program Edit Mode, click the Layer 2 menu in the Sample Layers section, and then select the new
bass sample. Click a pad to hear both samples will sound at once. Maybe this new sound is interesting as it is,
but let’s make some quick edits to get as close as we can to a real-life bass sound.
3. Click and drag the right edge of the Velocity slider for Layer 1 to 80.
4. Click and drag the left edge of the Velocity slider for Layer 2 to 81.
Now when you press a pad, the lower velocities (0–80) will trigger the Layer 1 sample only, while higher velocities
(81–127) will trigger the Layer 2 sample only.
Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can
edit your recording just like we’ve done earlier.
Once you’ve recorded it, let’s tweak the sound a bit in the Filter section:
1. In Program Edit Mode, click the Type menu in the Filter section, and select a filter. Let’s try working with
Lowpass 4 Pole.
2. Click and drag the Cutoff or Res (resonance) knobs to adjust their settings until your bass sample sounds good
to you.
3. Under the Amp Envelope section, click and drag the Attack or Release knobs up or down to adjust their
settings. These control the overall level characteristics of the sound.
Do you want to add an effect? You can do this in the same way as you did for a drum program.
So far, we’ve created a simple drum sequence and a bass line to go with it. Repeat this process to create a second
sequence.
15
Recording an Audio Track
We’ve already created some MIDI tracks, so let’s record some actual audio for our next track:
1. Click the house icon in the toolbar or press Ctrl+1 (Windows) or +1 (Mac OS X) to enter Main Mode.
2. Click the Audio tab in the upper-left corner of the window. Audio 001 will appear in the Track field.
3. If the channel strip is not already shown in the lower-left corner of the window, click the waveform icon in the
lower-left corner to show it.
4. Connect a synthesizer or other line-level audio source to the 1/4” (6.35 mm) input/inputs on your MPC controller
hardware, and set its Line/Phono selector to Line.
Alternatively, connect it to another external audio interface.
5. The audio track channel strip, click the input menu (Input __) above, and select Mono > Input 1 or Stereo >
Input 1,2 (depending on your audio source) as the input source.
6. In the audio track channel strip, if the output menu (Out __) is not set to Out 1,2, click it and select Output > Out
1,2 as the output.
7. In the audio track channel strip, click the Monitor (speaker) button to cycle through its three states until it reads
Auto (you will hear incoming audio while the track is record-enabled only).
8. On your MPC controller hardware (or external audio interface), turn the Rec Vol knob to set the input level while
playing your audio source. 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).
9. If the Solo (S) or Mute (M) buttons are on, click them so they are off. Also, make sure the track automation
button below them so it is off (not R/Read or W/Write). To turn it off, hold Shift and click it.
10. Click the Rec Arm button next to the pan knob to record-enable the track.
11. Press Rec or Overdub on your MPC controller hardware to record-arm it. Alternatively, press R to select Record
or Shift+R to select Overdub.
12. To start recording, press Play or Play Start on your MPC controller hardware (or click the Play or Play Start
button in the window)—then play your audio source! You should hear your existing sequence playing in the
background.
To stop recording, press Stop on your MPC controller hardware (or click the Stop button in the window).
Alternatively, press the space bar.
Record another audio track for your other sequence: In the inspector on the left edge of the window, click the
Sequence field, and click Sequence 2 (unused) in the list of sequences that appears. Click the + icon next to the
Track field to add another audio track (Audio 002) to go with that sequence.
16
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.
To enter Song Mode, make sure playback is stopped, click the  icon next to the other mode icons in the toolbar,
and click Song. Alternatively, press Ctrl+= (Windows) or += (Mac OS X). 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.
Each step can be repeated, determined by the value in the Rpts column. A value of 1 means the sequence will play
through only once. The Bars column on the right indicates the length of that step: [the number of bars in the
sequence] x [the number of times it repeats].
Each step can be set to play its sequence at an independent tempo, determined by the value in the BPM column.
Important: Each sequence has its own tempo, while the project itself may use a different master tempo. The BPM
value for each sequence may be different from the master tempo. As long as playback is set to follow the master
tempo, each sequence’s individual tempo will be ignored. By default, each project is set to use the sequence tempo,
which you set back in the Creating a Drum Sequence chapter. We recommend clicking the Seq/Mst button at the top
of the window (so the button displays Mst) and entering a master tempo to ensure all sequences use the same tempo.
To insert a step at the current position, click Insert Step.
To delete the currently selected step, click Delete Step.
To set which sequence plays for a step, click the step’s Sequence field, and then click the sequence in the menu
that appears.
To set how many times a sequence repeats, click and drag the step’s Rpts field (next to the sequence name) up
or down.
Exporting the Song
Want to share your new song? Just export it first.
To export a song:
1. Click the Menu icon (≡), and go to File > Export and click As Audio
Mixdown. Alternatively, press Ctrl+Shift+E (Windows) or +Shift+E
(Mac OS X).
2. In the Audio Mixdown screen that appears, do the following:
•
Make sure the Start bar field is set to 1, and set the End
bar field to the last bar of your song.
•
Click and drag the Audio tail field to set it to 2 seconds.
•
As you’ll likely share the song online, click the mp3 file
format option under File format.
3. Click Export and choose where you want to save the song.
To name the song, click the File field, type a name, and then click
Save or press Enter to start exporting.
17
Other Features Explained
This chapter describes various advanced features. For a fuller explanation of these features, please refer to their
corresponding sections in the Operation chapter.
Step Sequencer
You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step
Sequencer by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum
machine.
To enter the Step Sequencer, click the  icon next to the other mode icons in the toolbar, and click Step Sequencer.
Alternatively, press Ctrl+7 (Windows) or +7 (Mac OS X).
Let’s create a sequence on a new track:
1. In the inspector on the left edge of the window, click the Track field, and then select an (unused) track.
2. If the left-most four-pads icon in the Track section is not selected, click it. This indicates that the track is using a
drum program.
3. Click the list icon in the Track section in the inspector, and click Length so it is checked.
4. Click and drag the Length field in the Track section up or down to set a length for the track. If you select the
minimum value, Sequence, the track will be however long your sequence is.
Tip: This lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence
repeatedly under a 4-bar bass line.
5. Click the Bar / buttons at the top of the Pads panel to select the bar whose steps you want to create or edit.
The bar number will appear in the field.
6. Click the pad or sample name in the grid to select the pad whose steps want to create or edit. Alternatively, click
and drag the Pad field in the Pads panel up or down.
7. Press Play to start your sequence.
8. 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, click an unlit pad. The pad will light up with a color corresponding to its velocity.
To delete the note from a step, click a lit pad. The pad will become unlit.
See Operation > Modes > Step Sequencer to learn more about this feature.
18
Drum Loops & Chop Mode
Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains
how to use Sample Edit Mode to work with drum loops.
To enter Sample Edit Mode, click the waveform icon next to the other mode icons in the toolbar. Alternatively,
press Ctrl+4 (Windows) or +4 (Mac OS X).
1. Use the Browser to locate a drum loop, and then double-click it to add it to the current program. The loop does
not have to match the tempo of anything in the project.
2. In the Project panel, click the drum loop you just loaded in the Samples column. If you do not see it, click All
Samples in the Project column.
3. In the QLinks panel, click Chop to enter Chop Mode, which will let us cut the drum loop into slices.
4. Click the Chop To menu, and then click Threshold.
5. Below that, click the Threshold field and drag it up or down to set a value. The lower the threshold, the more
slices will be created. Be sure to select a value so that every transient peak of the drum loop has a
corresponding a slice marker.
Tip: Each slice will be automatically assigned to a pad: Pad A01 plays Slice 1, Pad A02 plays Slice 2, etc. Press
each pad to play the slice with the same number.
Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We
can also automatically create corresponding note events to play back these slices sequentially.
1. In the Extract New Samples section, click New Program.
2. Make sure the Convert To menu is set to New Program with New Samples is checked. If it is not, click it, and
select that option.
3. Make sure Crop Samples is checked. If it is not, click it.
4. Make sure Create New Program is checked. If it is not, click it.
5. Make sure Create Events is checked. If it is not, click it.
6. Click and drag the Bars field up or down to select how many bars the entire sample should use in your program.
7. Click Do It to proceed. Each slice will be assigned to a pad, and each pad will have a recorded note event in the
track. When you play that track, it will play each pad (each slice) in the original order. Enter Main Mode to see
how the sample appears in your sequence.
8. Click Play and listen to how the drum loop matches your song tempo now.
You can also edit the note events of the drum loop slices—stay in Main Mode to do this. A new track with the note
events playing their corresponding slices has been automatically created.
Use the Time Correct window to quantize the note events so they fall on exact, even time intervals. To show this
window, click the Menu icon (≡), and go to Edit > Time Correct and click Settings. Alternatively, press Ctrl+Shift+T
(Windows) or +Shift+T (Mac OS X).
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. You can add effects for slices or use the filter function to change the
frequency range of a selected slice. There are almost no limits to what you can do.
See Operation > Modes > Sample Edit Mode > Chop Mode to learn more about this feature.
19
Pad Muting & Track Muting
Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds
like without those samples or parts.
To enter Pad Mute Mode, click the  icon next to the other mode icons in the toolbar, and click Pad Mute.
Alternatively, press Ctrl+9 (Windows) or +9 (Mac OS X).
1. Press Play to play the sequence.
2. In the inspector on the left edge of the window, click the Track field, and select a track that uses a drum
program.
3. Mute a pad by clicking it. The muted pad will be lit red. You can mute multiple pads at the same time.
See Operation > Modes > Pad Mute Mode to learn more about track mutes.
You can also mute entire tracks by using the similar Track Mute function.
To enter Track Mute Mode, click the  icon next to the other mode icons in the toolbar, and click Track Mute.
Alternatively, press Ctrl+0 (Windows) or +0 (Mac OS X).
1. Press Play to play the sequence.
2. In the inspector on the left edge of the window, click the Sequence field, and select the desired sequence.
3. Each pad is assigned to a track. Mute a track by clicking it. The pad will be lit red. You can mute multiple tracks
at the same time.
Tip: To mute a track only at precise note intervals (“quantizing” your mutes, essentially), click the Time Correct
menu, and click the desired musical value (e.g., 1 bar). Now, when you click a pad in Track Mute Mode, the mute will
occur precisely at the beginning of the following time division (in this example, one bar). This lets you test musical
combinations of patterns—the preliminary stage to building a song structure.
See Operation > Modes > Track Mute Mode to learn more about track mutes.
20
Sampling (Recording)
This section describes recording new samples of your own, which you can use in your projects.
Important: To record any audio, you need to connect an audio source to your MPC controller hardware or to your
computer’s audio interface.
To open the Sampler, click the vinyl-record icon in the toolbar. Alternatively, press Ctrl+8 (Windows) or +8 (Mac
OS X).
1. Connect an audio source to the input/inputs of your MPC controller hardware or computer’s audio interface.
2. On your MPC controller hardware or computer’s audio interface, set the input level while playing your audio
source. 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).
3. Click and drag threshold slider to set the threshold. Set it to a fairly low level (e.g., -50 dB).
4. Click Arm to record-arm the Sampler.
5. Play your audio source. The Sampler will start recording immediately when the input level reaches the threshold
value. Alternatively, click the round Record button or press Enter to manually start recording.
6. To stop recording, click the round Stop button or press Enter. The Keep or Discard Sample window will
appear.
In the Keep or Discard Sample window:
To name the new sample, click the New Name field
and type a name.
To assign the new sample to a program, click the
Program field, and then use the data dial or –/+ buttons
to select the desired program. Alternatively, double-click
the Program field, and then click a program to select it.
To assign the sample to a pad in the program, click the
Assign to Pad field, and then press the desired pad.
Alternatively, use the data dial or –/+ buttons to select the
desired pad number, or double-click the Pad field, and
then click a pad number.
To confirm your selections, click Keep at the bottom of
the window.
To discard the recording and return to the previous
screen, click the Discard button.
To play the recording, click the Play button at the
bottom of the window.
See Operation > Modes > Sampler to learn more about this feature.
21
Sample Editing
You may need to edit your newly recorded samples using Sample Edit Mode.
To enter Sample Edit Mode, click the waveform-and-flags icon next to the other mode icons in the toolbar.
Alternatively, press Ctrl+4 (Windows) or +4 (Mac OS X).
In Sample Edit Mode:
To switch between Trim Mode and Chop Mode, click the Trim, Chop, or Program tab in the QLinks panel. In
this example, use Trim Mode.
To set the sample’s start point, click and drag the green start point marker left or right. You can also use the QLink knobs to adjust the start point with varying degrees of resolution.
To set the sample’s end point, click and drag the red end point marker left or right. You can also use the Q-Link
knobs to adjust the start point with varying degrees of resolution.
To hear your edits, click Pad 10 to play the sample from the start point to the end point.
Let’s apply some processing to the sample.
To show or hide the Parameters panel, click Parameters below the sample waveform.
1. In the Parameters panel, click Pitch Shift to change the overall pitch of your sample. This will transpose the
sample without affecting its length.
2. To set the pitch shift amount, click and drag the Pitch field up or down. Alternatively, click the Pitch field, type
a value, and press Enter. To close the window, click Cancel or press Esc.
3. To confirm your selections, click Do It.
To cancel the process, click Cancel or press Esc.
See Operation > Modes > Sample Edit Mode to learn more.
22
Recording Automation with Q-Link Knobs
Automating various parameters is a good way to add some motion and dynamism to your sequences.
1. In the software, click the house icon to enter Main Mode. Click a pad that has a sample assigned to it—ideally
one that is played multiple times throughout the sequence, so you can hear the automated changes across
several notes.
2. In the QLink panel, click the QLink Mode menu and select Pad Scene.
3. On the program channel strip, click the automation button under the Mute (M) button until it shows the red
Write (W) option. This ensures your track will record the automation.
4. Record the automation using your MPC controller hardware:
i. Press Overdub to arm your automation recording. Press Play to start it.
ii. Turn any of these Q-Link knobs (for example) to record their movement: Q1 (Level), Q2 (Pan), Q12 (Tuning).
iii. Press Stop to finish the automation recording.
5. On the program channel strip, click the automation button under the Mute (M) button until it shows the green
Read (R) option. This ensures your track uses the automation you just recorded when you play it back.
Want to see what you've recorded? In the software, to the left of the velocity lane under the grid, click the name of
the parameter you automated (Level, Pan, or Tuning). The automation curve will appear in the lane. If part of the
curve is still not quite what you want, select the pencil tool above the grid and draw in your own automation curve.
See Operation > General Features > Automation to learn more about this.
Using MPC as a Plugin
If you're working with other audio software, you can use the MPC software as an instrument plugin (VST, AU, RTAS,
or AAX format) within your host software..
Note: To learn how to load and use an instrument plugin in a host application, please refer to the corresponding
chapter of your host application's manual.
23
Operation
This chapter explains the complete features and functions of the MPC software.
General Features
Programs
About Programs
Each track you create within a sequence is routed through a program. There are six types of programs, each of
which determines how the track sounds or what it is used for. A single project can hold up to 128 programs.
This chapter covers how to create each program type.
To learn about editing your programs to your preference, see the Modes > Program Edit Mode chapter.
A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings
for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for
creating drum parts and quickly and easily assigning samples to pads. See Drum Programs for more information.
A keygroup program uses one or more samples as its sound source. It contains It contains (1) a list of samples and
(2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples
chromatically with a MIDI keyboard or the MPC pads. See Keygroup Programs for more information.
A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. See Plugin
Programs for more information.
A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine. See
MIDI Programs for more information.
A CV program lets you send your track’s MIDI data to an external MIDI device that uses control voltage (CV), like a
synth. Although this option is selectable, it is usable only with MPC controller hardware that has CV outputs (e.g.,
MPC X).
A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can
press to trigger the clip according to a quantization setting. This lets you create intriguing, layered performances by
launching different combinations of clips together. See Clip Programs for more information.
24
Drum Programs
A drum program uses one or more samples as its sound source. It contains (1) a list of samples and (2) the settings
for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for
creating drum parts and quickly and easily assigning samples to pads.
To create a drum program:
1. In the inspector on the left edge of the window, click the four-squares icon below the Track field, which
indicates a drum program. (Click the i icon to show or hide the inspector. See General Features > Inspector to
learn more about the inspector specifically.)
2. If the project does not contain a drum program yet, a new drum program (named Program, appended with a
number) will be added automatically to the project and appear in the Program field below.
If the project already contains a drum program, the first one will be selected automatically and appear in the
Program field below.
To create another drum program, click the + icon above the Program field. A new drum program will be
created and appended with a number (e.g., Program 002).
To rename the program, double-click the Program field, type a name, and press Enter.
To load a sample into a drum program:
1. In the Browser, find a sample you want to use. (Click the hard-drive icon in the lower-right corner to show or
hide the File Browser. See General Features > Browser to learn more about using the Browser specifically.)
2. Click and drag the sample from the Browser onto the desired pad. Alternatively, double-click the sample to load
it to the sample pool without loading it to a specific pad.
To assign samples to additional pads, repeat Steps 1–2.
Tip: Remember that a drum program has 128 pads total—16 pads across eight banks.
Alternatively, assign samples in a drum program this way:
1. Click the four-pads icon in the toolbar or press Ctrl+3 (Windows) or +3 (Mac OS X) to enter Program Edit
Mode.
2. In the bottom half of the window, scroll to the right to find the Sample Layers section. This lets you view the
samples assigned to all four layers of the drum program as well as tuning and level parameters for each layer.
3. Click a pad to select it (and play its assigned samples, if any). The pad will be lit green.
4. Click the menu for a layer, and select a sample.
Tip: Remember that a drum program has 128 pads total—16 pads across eight banks.
25
Keygroup Programs
A keygroup program uses one or more samples as its sound source. It contains It contains (1) a list of samples and
(2) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples
chromatically with a MIDI keyboard or the MPC pads.
To create a keygroup program:
1. In the inspector on the left edge of the window, click the piano-keys icon below the Track field, which indicates
a keygroup program. (Click the i icon to show or hide the inspector. See General Features > Inspector to learn
more about the inspector specifically.)
2. If the project does not contain a keygroup program yet, a new keygroup program (named Program, appended
with a number) will be added automatically to the project and appear in the Program field below.
If the project already contains a keygroup program, the first one will be selected automatically and appear in the
Program field below.
To create another keygroup program, click the + icon above the Program field. A new keygroup program will
be created and appended with a number (e.g., Program 002).
To rename the program, double-click the Program field, type a name, and press Enter.
To load a sample for your keygroup program into the project:
1. In the Browser, find a sample you want to use. (Click the hard-drive icon in the lower-right corner to show or
hide the File Browser. See General Features > Browser to learn more about using the Browser specifically.)
2. Click and drag the sample from the Browser onto any space outside of the Browser. Alternatively, double-click
the sample to load it to the sample pool.
To load additional samples, repeat Steps 1–2.
To assign samples in a keygroup program:
1. Click the four-pads icon in the toolbar or press Ctrl+3 (Windows) or +3 (Mac OS X) to enter Program Edit
Mode.
2. In the bottom half of the window, scroll to the right to find the Sample Layers section. This lets you view the
samples assigned to all four layers of the current keygroup as well as tuning and level parameters for each layer.
3. Click a pad to select it (and play its assigned samples, if any). The pad will be lit green.
Tip: In the Pads panel, click the Pad Bank D button to and click Pad 13. You should hear the sample played
back with its original pitch. You can use the other pads to play your sample chromatically.
4. Click the menu for a layer, and select a sample.
To create complex keygroup programs, you can add more keygroups (up to 128). This is useful when working with
multi-samples (e.g., when programming a real piano).
Tip: Remember that a keygroup program offers up to 128 keygroups, and each keygroup can hold up to four
samples (Layers 1–4). This is a total of 512 samples.
26
Plugin Programs
A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. This lets you
use the same instance of a plugin with multiple tracks (rather than load an instance of a plugin on every track, which
can be cumbersome and CPU-intensive).
To create a plugin program:
1. In the inspector on the left edge of the window, click the plug icon below the Track field, which indicates a
plugin program. (Click the i icon to show or hide the inspector. See General Features > Inspector to learn more
about the inspector specifically.)
2. If the project does not contain a plugin program yet, a new plugin program (named Program, appended with a
number) will be added automatically to the project and appear in the Program field below.
If the project already contains a plugin program, the first one will be selected automatically and appear in the
Program field below.
To create another plugin program, click the + icon above the Program field. A new plugin program will be
created and appended with a number (e.g., Plugin 002).
3. Click the Plugin menu. In the list that appears, click the desired plugin.
To sort your plugins by type or maker, click Sort by type or Sort by manufacturer.
4. Click Select to select the plugin, or click Close to cancel.
Note: You have to specify the disk directory where your plugins are located. This can be done in the software’s
Preferences (in the Edit Menu). See General Features > Preferences to learn more.
5. Next to the Program field, click the menu (≡) icon and click Preset so it is checked. Repeat this and click MIDI
Channel so it is also checked.
To select the MIDI channel the program will use, click the Midi Ch menu, and click the desired channel. Use
this setting when you are working with a virtual instrument plugin that supports multi-mode.
To select a preset in your plugin (if any), click the Preset menu, and click the desired preset.
To rename the program, double-click the Program field, type a name, and press Enter.
To adjust the volume and panning of a track using the plugin program:
1. Click the three-sliders icon in the toolbar or press Ctrl+6 (Windows) or +6 (Mac OS X) to enter the Channel
Mixer.
2. In the bottom half of the window, click the channel strip that represents the track with the plugin program to
select it. (If you do not see it, make sure the MIDI Tracks button between the grid and channel strips is on.)
3. Click and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust the
volume and panning of the plugin program normally.
Important:
If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if you move to
a new sequence and put the same plugin program on a new track.
By default, some plugins do not support MIDI volume and pan. In this case, adjust volume levels and panning on the
plugin program.
27
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. In the inspector on the left edge of the window, click the MIDI-jack icon below the Track field, which indicates a
MIDI program. (Click the i icon to show or hide the inspector. See General Features > Inspector to learn more
about the inspector specifically.)
2. If the project does not contain a MIDI program yet, a new MIDI program (named Midi, appended with a number)
will be added automatically to the project and appear in the Program field below.
If the project already contains a MIDI program, the first one will be selected automatically and appear in the
Program field below.
To create another MIDI program, click the + icon above the Program field. A new MIDI program will be
created and appended with a number (e.g., Midi 002).
3. There are five additional settings to configure for a MIDI program: the MIDI Port, program change message
(Prog Ch), MIDI channel (Midi Ch), Most Significant Byte (Bank), and Least Significant Byte (Bank LSB). See
Modes > Main Mode to learn more.
Next to the Program field, click the menu (≡) icon and click Prog Ch so it is checked. Repeat this and click
Bank and LSB so they are also checked. (All five items in this list should be checked.)
To configure each setting, click its menu, and click the desired option.
Note: You also have to configure the MIDI ports in the software’s Preferences (in the Edit Menu). See General
Features > Preferences to learn more.
To rename the program, double-click the Program field, type a name, and press Enter.
To adjust the volume and panning of a track using the MIDI program:
1. Click the three-sliders icon in the toolbar or press Ctrl+6 (Windows) or +6 (Mac OS X) to enter the Channel
Mixer.
2. In the bottom half of the window, click the channel strip that represents the track with the plugin program to
select it. (If you do not see it, make sure the MIDI Tracks button between the grid and channel strips is on.)
3. Click and drag the volume slider or pan knob up or down to adjust it. After you do this once, you can adjust the
volume and panning of the plugin program normally.
Important: If you copy a sequence, the volume and pan values will be copied with that sequence. This is also true if
you move to a new sequence and put the same MIDI program on a new track.
28
Clip Programs
A clip program uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can
click or press to trigger the clip according to a quantization setting. This lets you create intriguing, layered
performances by launching different combinations of clips together.
By default, the 16 pads are divided into four columns of four pads. Each column represents a mute group; when a
pad is playing a clip, all other pads in that same mute group are turned off. This enables you to launch a clip without
having to manually stop other clips that are similar. For instance, pressing Pad 2 may launch a bass clip. You could
then press Pad 6, which launches another bass clip and stops the clip on Pad 2. This way, you’ll never be playing
two bass clips simultaneously.
The four-columns pad configuration described above is just a default to make things easy (e.g., you could use the
first column for drum clips, the second for bass clips, the third for keyboard clips, and the fourth for vocal clips.). You
can use Program Edit Mode to assign pads to any combination of mute groups you want.
To create a clip program:
1. Click the house icon in the toolbar or press Ctrl+1 (Windows) or +1 (Mac OS X) to enter Main Mode.
2. In the inspector on the left edge of the window, click the play-button icon below the Track field, which indicates
a clip program. (Click the i icon to show or hide the inspector. See General Features > Inspector to learn more
about the inspector specifically.)
3. If the project does not contain a clip program yet, a new clip program (named Clip, appended with a number) will
be added automatically to the project and appear in the Program field below.
If the project already contains a clip program, it will be selected automatically and appear in the Program field
below.
To create another clip program, click the + icon above the Program field. A new clip program will be created
and appended with a number (e.g., Clip 002).
To rename the program, double-click the Program field, type a name, and press Enter.
To load a clip into a clip program:
1. Click the house icon in the toolbar or press Ctrl+1 (Windows) or +1 (Mac OS X) to enter Main Mode.
2. In the Browser, find a loop you want to use. (Click the hard-drive icon in the lower-right corner to show or hide
the File Browser. See General Features > Browser to learn more about using the Browser specifically.)
3. Click and drag the loop from the Browser onto the desired pad. Alternatively, double-click the loop to load it to
the sample pool without loading it to a specific pad.
To assign clips to additional pads, repeat Steps 2–3.
Alternatively, assign clips in a clip program this way:
1. Click the four-pads icon in the toolbar or press Ctrl+3 (Windows) or +3 (Mac OS X) to enter Program Edit
Mode.
2. In the bottom half of the window, scroll to the right to find the Program section. This lets you view configure the
settings for each pad in the clip program.
3. Click a pad to select it (and play its assigned samples, if any). The pad will be lit green.
4. Click the Pad menu above the Start and End times, and select a clip.
To assign clips to additional pads, repeat Steps 3–4.
To clear the assigned clip from a selected pad, repeat Step 5 but select None.
29
CV Programs
A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum
machine that uses CV.
Important: CV programs are available only while using an MPC model with CV outputs (e.g., MPC X).
To create a CV program:
1. Click the house icon in the toolbar or press Ctrl+1 (Windows) or +1 (Mac OS X) to enter Main Mode.
2. In the inspector on the left edge of the window, click the CV icon below the Track field, which indicates a CV
program. (Click the i icon to show or hide the inspector. See General Features > Inspector to learn more about
the inspector specifically.)
3. If the project does not contain a CV program yet, a new CV program (named CV, appended with a number) will
be added automatically to the project and appear in the Program field below.
If the project already contains a CV program, it will be selected automatically and appear in the Program field
below.
To create another CV program, tap the + icon above the Program field. A new CV program will be created and
appended with a number (e.g., CV 002).
To rename the program, double-click the Program field, type a name, and press Enter.
30
Menu
This chapter describes the available options in the software menu.
To access the software’s menu, click the Menu (≡) icon in the upper-left corner of the window.
File
•
New Project creates an empty project. Use this command when you want to start a project from scratch.
•
New From Template loads a user-defined project template. We recommend creating a project with the basic
settings that suit your needs and saving it as a project template for easy access. See Preferences > Auto
Load/Save to learn how to set this template.
Tip: You can “bypass” or ignore the template by opening the MPC software while holding down your computer's
Shift key. This will open an empty project instead of your selected auto-load file.
•
Load Recent provides shortcuts to the last five files you have been recently working with. The list is chronological
with the most recent file at the top.
•
Save Project saves the current project. In the window that appears, name your project and select a save
location. The samples in the Project panel will be automatically saved with the project. The project file (.xpj), and
its information (samples, MIDI files, program files, etc.) will be saved in a folder with the same name on the same
folder level.
•
Save Project As is identical to the Save Project function but lets you save the current project with a new name.
•
Save All Programs saves all programs of your project.
•
Save Current Program saves only the current program.
•
Save Current Sequence saves only the current sequence.
•
Save MIDI Control Scene saves your control map as set in MIDI Control Mode. See Modes > MIDI Control
Mode chapter for more information about creating a control map.
•
Export lets you export your project or sequence data in various formats: a single project archive file, MPC
formats, a standard MIDI file, or as an audio mixdown file. Select the desired option from the sub-menu.
•
o
As Project Archive exports the entire project as a project archive file (.xpa). In the window that appears,
type a file name and set the save location. This option is useful when you want to transfer a project
between different computers without dealing with its component files.
o
As Pattern exports the track (for the current sequence only) as a pattern (.mpcpattern).
o
As MPC1000/MPC2500 Sequence exports the current sequence so it can be read by an MPC1000 or
MPC2500.
o
As MPC1000/MPC2500 Program exports the current program so it can be read by an MPC1000 or
MPC2500.
o
As MPC5000 Sequence exports the current sequence so it can be read by an MPC5000.
o
As MPC5000 Program exports the current program so it can be read by an MPC5000.
o
As MIDI Sequence File exports the sequence as a standard MIDI file (.mid). In the window that appears,
type a file name and set the save location. This option is useful when you want to import your sequences
into separate sequencer software or exchange them with another artist.
o
As MIDI Track File exports the track as a standard MIDI file (.mid). In the window that appears, type a
file name and set the save location. This option is useful when you want to import your tracks into
separate software or exchange them with another artist.
o
As Audio Mixdown exports the sequence or song as an audio file. See the Audio Mixdown chapter for
more information about this process. If you are in Song Mode, it will affect the entire song. If you are in
any other mode, it will affect the current sequence only.
Exit closes the software. If you have not saved any changes made to a currently open project, it will prompt you
to do so before quitting.
31
Edit
•
Undo undoes the last action you performed. When there are no actions left to undo, this command will be
unavailable and appear greyed out.
•
Redo undoes the Undo command. You can continue redoing actions until there are no items left to redo, in
which case, the Redo command will be unavailable and appear greyed out.
Important: If you perform a new action when the Redo command is available, you will no longer be able to redo.
In other words, as soon as you perform an editing action other than Undo, Redo is no longer available.
•
Undo History lets you view a list of previously executed commands in the Undo History panel. As you undo and
redo commands, you can see your current “position” in the list of commands in the window.
Tip: To revert to a previous “state” in your project, click and drag the point just after the last step. Any “undone”
steps will be greyed out. You can do the same to redo greyed-out steps, as well.
•
Cut removes selected events from the grid and copies it to the clipboard. After cutting events, you can paste or
insert them at another location in the same or another sequence.
•
Copy copies selected events from the grid to the clipboard without removing them. After copying events, you
can paste or insert them at another location in the same or another sequence.
•
Paste lets you to paste the contents of the clipboard at the position marker's current location.
•
Select All selects all note events in the current sequence and track.
•
Deselect deselects all note events in the current sequence and track.
•
Nudge Event Left/Right by TC shifts the selected event/events left or right (respectively) by the time division set
in the Time Correct settings.
•
Nudge Event Left/Right by Tick shifts the selected event/events left or right (respectively) by one tick.
•
Time Correct displays options for using time correct (quantization):
o Apply quantizes the currently selected note events. If no note events are selected, nothing will be quantized.
o Settings opens the Time Correct window where you can configure its settings. See the Time Correct
chapter for more information about this.
•
Audio Region provides options related to editing the current audio track region:
o Duplicate copies and pastes the track region immediately after the original one.
o Mute silences the track region.
o Reverse reverses the track region.
o Warp lengthens or shortens the track region without changing its pitch.
•
Sequence provides options related to editing the current sequence:
o Clear erases all tracks and their note events from the current sequence. After selecting this, click Clear
to confirm your choice or Cancel to cancel it. This operation cannot be undone.
o Half Length will immediately halve the length of the sequence (without deleting any note events).
o Double Length will immediately double the sequence and copy all events from the first half to the
second half.
o Insert Blank Bars adds empty bars to a sequence at a specified point. See Editing Processes >
Sequence for more information.
o Delete Bars removes a range of bars from a sequence. See Editing Processes > Sequence for more
information.
o Copy Bars copies a range of bars from a sequence and adds them to another at a specified point. See
Editing Processes > Sequence for more information.
o Copy Events copies a range of events from a sequence and add them to another at a specified point.
See Editing Processes > Sequence for more information.
o Copy Sequence copies the contents of one sequence to another. See Editing Processes > Sequence
for more information.
o Copy Track copies the contents of one track to another. See Editing Processes > Sequence for more
information.
32
•
o
Transpose transposes a range of events on a track in a sequence. See Editing Processes > Sequence
for more information.
o
Erase erases all or part of a track in a specific sequence. See Editing Processes > Sequence for more
information.
o
Events Double Speed immediately halves the lengths of all note events on all tracks in the sequence as
well as the distance between them. In other words, all tracks’ notes are pressed closer together so the
sequence sounds like it is playing at twice the previous speed. This does not actually affect the pitches
of notes or the tempo.
o
Events Half Speed immediately doubles the lengths of all note events on all tracks in the sequence as
well as the distance between them. In other words, all tracks’ notes are spread further apart so the
sequence sounds like it is playing at half of the previous speed. This does not actually affect the pitches
of notes or the tempo.
o
Next Sequence selects the next sequence. If you select this during playback, the next sequence will be
selected when the current one is done playing.
o
Previous Sequence selects the previous sequence. If you select this during playback, the previous
sequence will be selected when the current one is done playing.
o
Next Sequence Now selects the next sequence immediately.
o
Previous Sequence Now selects the previous sequence immediately.
o
Export as MIDI lets you export the current sequence as a standard MIDI (.mid) file. See Editing
Processes > Sequence for more information.
o
Bounce to Sample immediately renders the sequence (all of its tracks) as an audio sample and places it
in the project’s sample pool. By default, it will be named Bounce - and appended with the sequence
name. If you have already used this function on this sequence, then it will create another audio sample
appended with the next-highest number.
o
Bounce to New Audio Track immediately renders the sequence (all of its tracks) as an audio track in the
project. The Audio tab will be automatically selected. By default, the sample will be named Bounce - and
appended with a number. This function does not work for tracks that use MIDI programs or CV programs.
Track provides options related to editing the current track:
o
Delete erases the entire audio track. This cannot be used on MIDI tracks.
o
Clear erases all note events from the current track.
o
Explode 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.
o
Events Double Speed immediately halves the lengths of all note events on the track as well as the
distance between them. In other words, the track’s notes are pressed closer together so the track
sounds like it is playing at twice the previous speed. This does not actually affect the pitches of notes or
the tempo.
o
Events Half Speed immediately doubles the lengths of all note events on the track as well as the distance
between them. In other words, the track’s notes are spread further apart so the track sounds like it is
playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.
o
Next Track selects the next track.
o
Previous Track selects the previous track.
o
Export as MIDI lets you export the current track as a standard MIDI (.mid) file. See Editing Processes >
Sequence for more information. This cannot be used on audio tracks.
o
Bounce to Sample immediately renders the track as an audio sample and places it in the project’s
sample pool. By default, it will be named Bounce - and appended with the sequence name. If you have
already used this function on this sequence, then it will create another audio sample appended with the
next-highest number.
o
Bounce to New Audio Track immediately renders the track (for the current sequence only) as an audio
track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be
named Audio and appended with a number (e.g., Audio 002). This function does not work for tracks that
use MIDI programs or CV programs.This cannot be used on audio tracks.
33
•
•
Program provides options related to editing the current program:
o
Pad Color opens the Pad Color window where you can assign specific colors to your pads in each
program. See Pad Color for more information.
o
Note Mapping opens the Note Mapping window where you can assign a MIDI note to each pad in a
program.
o
Duplicate immediately creates an identical program. The duplicate program will use the same name but
appended with a number (e.g., Program 002).
o
Duplicate to New Track immediately creates an identical program on a new track. The duplicate
program will use the same name but appended with a number (e.g., Program 002). The new track will be
named Track and appended with a number (e.g., Track 06).
o
Merge lets you copy the pads (and their parameters) from one program into another, essentially
consolidating two programs into one. See Editing Processes > Sequence for more information.
o
Delete erases the program from the project. The samples used in that program will remain in the
project’s sample pool and any other programs that use them.
o
Rename lets you enter a new name for the program. Type a name and click OK to continue or Cancel to
return to the previous screen.
o
Bounce to Sample immediately renders all tracks that use that program (for the current sequence only)
as an audio sample and places it in the project’s sample pool. By default, it will be named Bounce - and
appended with the program name. This function does not work for MIDI programs or CV programs.
o
Bounce to New Audio Track immediately renders that program (for the current sequence only) as an
audio track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be
named Audio and appended with a number (e.g., Audio 002). This function does not work for MIDI
programs or CV programs.
Preferences opens the Preferences window, which contains many customizable elements of the software. Click the
corresponding tab on the left to select it (e.g., MIDI, Sequencer, etc.). Click the OK button to close the Preferences
window. Preferences are automatically saved. See the Preferences chapter for more information about this.
Tools
•
Metronome
o
o
•
Count-In enables or disables the metronome pre-count 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.
Enable offers the settings for the metronome.

Off disables the metronome.

Play enables the metronome sound during playback only.

Record enables the metronome sound during recording only.

Record + Play enables the metronome to happen in both Record and Playback Modes.
o
Rate lets you to select the metronome click’s time division: 1/4, 1/4T, 1/8, 1/8T, 1/16, 1/16T, 1/32 or
1/32T (T indicates a triplet-based time division).
o
Sound lets you to select the sound that you want to hear for the metronome: Sidestick1, Sidestick2,
Clap, Metroclick, Shake, Tambourine, or MpcClick.
16 Level opens the 16 Levels window. See 16 Level for more information.
34
•
MIDI Keys enables or disables the use of your computer keyboard to enter or play a range of 17 MIDI notes,
starting from a C. Press [ or ] to shift the range of playable notes up or down (respectively) by one octave.
On standard US/American computer keyboard, use the A, S, D, F, G, H, J, K, L, and ; keys to play the white
keyboard keys, and use the W, E, R, T, Y, U, I, O, and P keys to play the black keyboard keys.
If the MIDI keyboard is shown, the corresponding computer keyboard character will be shown above each key
(though you can still use MIDI keys even if it is hidden).
Enabling MIDI Keys disables Pad Keys.
•
Pad Keys enables or disables use of your computer keyboard to play the 16 pads of
the current pad bank. On a standard US/American computer keyboard, use the keys
as follows:
o
the Z, X, C, and V keys plays Pads 01, 02, 03, and 04
o
the A, S, D, and F keys plays Pads 05, 06, 07, and 08
o
the Q, W, E, and R keys plays Pads 09, 10, 11, and 12
o
the 1, 2, 3, and 4 keys plays Pads 13, 14, 15, and 16
Enabling Pad Keys disables MIDI Keys.
•
Delete Unused Samples deletes any samples not assigned to a pad from the project.
Important: The samples will be deleted immediately from the project. The software
will not ask for confirmation or allow you to cancel, but you can undo this action (i.e.,
with the Undo command or hardware button), if needed.
Tip: You can delete unused samples by clicking the trash can icon in the upper-right
corner of the Project panel, as well.
•
Tidy Keygroup Sample Names automatically renames all samples belonging to a keygroup based on their
keygroup, layer, and other information. This option is available only for keygroup programs.
•
Convert To Progression
•
Stop All Sounds immediately stops all sounds within the software.
•
Plugin Manager opens the Plugin Manager window which contains a list of all available plugins, based on your
selected plugin folders.
•
Expansion Manager opens the Expansion Manager window which contains a list of all available MPC
expansions, based on your selected plugin folders.
•
LCD Window
View
•
Mode lets you select from any of the available software modes. See Modes to learn about these.
•
Q-Link Mode lets you select from any of the five edit modes for the Q-Link knobs. See Panels > QLinks to learn
about these.
•
Toolbar lets you select or deselect the items you want to see in the toolbar at the top of the window. This
includes the mode icons, metronome controls, time correct controls, time counter, tempo controls, transport
controls, punch-in button, record-start button, MIDI in/out and CPU status, and volume meter.
The Toolbar Modes submenu lets you select or deselect each mode icon. Selected ones will be shown in the
toolbar. You can also select All to show all of them or Default to show the default ones (which we find are the
most often used).
•
Inspector lets you select or deselect the items you want to see in the inspector on the left edge of the window.
This includes the inspector itself, send effect slots (on the channel strips), and insert effect slots (on the channel
strips). You can also select which channel strip you want to display: the pad channel strip, the program channel
strip, or the MIDI track channel strip. See Inspector to learn more about this.
35
•
Browser lets you select or deselect options that determine how the browser is shown on the right edge of the
window. You can hide or unhide the browser (Hidden); show the File Browser, Expansion Browser, Media
Browser, project information, project notes, or Undo History; show the Quick Help pane; or allow the Media
Browser to show all tags. See Browser to learn more about this.
•
Editor lets you select or deselect options that determine how the editor is shown in the top half of the window.
You can switch between the standard half-screen view or a full-screen view; show pad colors in the Grid Editor;
show or hide the automation lane under the Grid Editor; or switch between the Grid Editor, Wave Editor, or List
Editor (when each option is available, depending on the mode).
•
Show MIDI Keyboard shows or hides a piano keyboard at the bottom of the window. You can use these keys to
play or enter notes.
•
Show Media Browser Editor shows or hides the editor in the Media Browser.
•
Zoom In At Playhead zooms into the Grid Editor or Wave Editor while keeping the audio playhead or last-moved
marker at the center.
•
Zoom Out At Playhead zooms out of the Grid Editor or Wave Editor while keeping the audio playhead or lastmoved marker at the center.
•
Minimize minimizes the MPC software window.
•
Full Screen expands the MPC software window into a full-screen mode.
Help
•
MPC User Manual opens this user guide PDF.
•
MPC Touch User Manual opens the user guide PDF for MPC Touch.
•
MPC Release Notes opens the release notes PDF for this version of the MPC software.
•
Setup MMC Control opens a PDF with instructions on how to set up MMC control in this software.
•
Hybrid Instrument Help opens the user guide PDF for Hybrid 3.
•
Check for Updates checks online for any available updates to the MPC software. You must have an internet
connection to use this feature.
•
Expansion Store opens an online store of available MPC Expansions on the Akai Professional website. You
must have an internet connection to use this feature.
•
About MPC opens a window with information about this MPC software.
36
Toolbar
Menu
The mode icons let you select the current software mode.
Main
Program Edit
Track View
Pad Mixer
Sample Edit
Step Sequencer
Channel Mixer
Sampler
Looper
Track Mute
Pad Mute
Song
Next Sequence
MIDI Control
Click a mode icon to enter its corresponding mode.
Click the down arrow () to show a menu of all modes, and click a mode to enter it.
Click the metronome icon at the top of the window to enable or disable the metronome.
Click and drag the Metro meter at the top of the window to set the volume of your
metronome click.
The Metronome menu contains all settings regarding the metronome (click track).
To view the metronome settings, click the menu (≡) icon, select Tools, and click
Metronome. See Metronome for more information about this.
Click the TC field to set the quantization value. Note events will “snap” to these time
divisions on the grid. The T indicates a triplet-based value.
Click the Swing field to set the amount of swing from 50% to 75%. Swing lets you
“shuffle” your beats—from subtle to extreme.
The Time Correct window contains all settings to help quantize the note events in your
sequence.
To open the Time Correct settings, click the menu (≡) icon, select Edit, and click Time
Correct. See Time Correct for more information about this.
The time counter indicates the current playhead position.
To adjust the position, click and drag each field up or down
To switch the time increments, click the note icon or stopwatch icon. When set to
Beats (note icon), the time is shown in Bars, Beats, and Ticks. When set to Time
(stopwatch icon), the time is shown in hours (HH), minutes (MM), seconds (SS), and
frames (FF).
Use the BPM field to adjust the tempo of the sequence. Click and drag it up or down, or
double-click it, type a value, and press Enter. Alternatively, click Tap at the desired rate;
the software will automatically detect the tempo.
Click the Seq/Mst button to set whether each sequence follows its own tempo (Seq) or a
master tempo (Mst).
37
Click Record () to record-arm the sequence. Click Play () or Play
Start (|) to start recording. Recording in this way (as opposed to
using Overdub) erases the events of the current sequence. After the
sequence plays through once while recording, Overdub (⊕) will be
enabled.
Click Overdub (⊕) to enable Overdub. When enabled, you can record
events in a sequence without overwriting any previously recorded
events. You can enable Overdub before or during recording.
Click Stop () to stop playback. You can double-click this button to
silence audio that is still sounding once a note stops playing. Quickly
clicking this button three times will act as a “MIDI panic” and shut
off all voices and stop all audio processing. You can also press this
button to abort the loading any files that are being loaded (e.g., if
you select a project or program by accident).
Click Play () to play the sequence from the audio pointer’s current
position.
Click Play Start (|) play the sequence from its start point.
The In and Out boxes indicate the MPC software is receiving or
sending (respectively) MIDI messages from or to your MPC controller
hardware.
The automation button indicates the global automation state. See
General Features > Automation to learn about this.
Use the Auto-Scroll selector to set how the editor behaves relative
to the audio playhead.
Follow: Depending on the zoom setting, the editor will scroll along
in the background while keeping the audio playhead centered.
Page: The editor will move to the “next page” to follow the audio
playhead.
Off: The editor will not move at all.
Click the Keyboard button to cycle through three options:
Off: Pad Keys and MIDI Keys are off. Your computer keyboard
will work normally.
Pad Keys: Pad Keys is on, enabling your computer keyboard to
play the 16 pads of the current pad bank. See Menu > Tools >
Pad Keys to learn about this.
MIDI Keys: MIDI Keys is on, enabling your computer keyboard to
enter or play a range of 17 MIDI notes, starting from a C. See
Menu > Tools > MIDI Keys to learn about this.
The volume meter shows the current level. Click and drag the
volume slider to control the software’s master output level.
38
Inspector
The inspector on the left edge of the window shows information about the current
sequence, track, and program as well as two “dynamic” channel strips for convenient
monitoring and mixing.
To show or hide the inspector, click the i icon in the lower-left corner of the window.
Alternatively, press I.
The MIDI and Audio tabs at the top of the inspector determine whether it will show
information about the project’s MIDI tracks or audio tracks. Click one to select it.
Sequence
Click the > or ∨ next to the Sequence field to collapse or expand this section.
Click the Sequence field or down arrow () to select a sequence.
Double-click the Sequence field to rename the sequence.
Click the menu (≡) icon to select or deselect which items are shown in this section:
Bars: the number of bars in the sequence
BPM: the sequence tempo (as opposed to the master tempo)
Transpose: the transposition of the sequence in semitones
Loop: determines whether or not sequence playback will loop
Start: the first bar of the sequence loop
End: the last bar of the sequence loop
Time Signature: the time signature of the sequence
Right-click the Sequence field to show a menu of some editing processes. See
Editing Processes > Sequence for more information.
Track
Click the > or ∨ next to the Track field to collapse or expand this section.
Click the Track field or down arrow () to select a track.
Double-click the Track field to rename the track.
Click the menu (≡) icon to select or deselect which items are shown in this section:
Type: the type of program the track is using
Length: the length of the track in bars. When set to Seq, the track will use the
length of the sequence.
Velocity: the velocity of the track
Transpose: the transposition of the track in semitones
Mute/Solo: Mute or Solo buttons for the track
Right-click the Track field to show a menu of some editing processes. See Editing
Processes > Track for more information.
39
Program
The Program section is shown only when the MIDI tab at the top of the inspector is
selected.
Click the > or ∨ next to the Program field to collapse or expand this section (when a
plugin program, MIDI program, or CV program is selected).
Click the Program field or down arrow () to select a program.
Double-click the Program field to rename the program.
Click the + next to the Program field to create a new program of the same type.
Click the menu (≡) icon to select or deselect which items are shown in this section
(when a plugin program, MIDI program, or CV program is selected):
Plugin Program:
Plugin: the plugin that the program is using. Click the window icon next to the
menu to show the plugin’s graphical user interface in a separate window.
Preset: the preset/patch (if any) within the plugin.
MIDI Channel: the MIDI channel the program is using.
MIDI Program:
Port: the port over which the program sends its MIDI data.
MIDI Channel: the MIDI channel over which the program sends its MIDI data.
Program Change: the program change message the program sends out.
Bank: the Bank message (Most Significant Byte or MSB) that the program
sends out.
LSB: the Least Significant Byte (LSB) message that the program sends out.
CV Program:
CV Port: the CV port the program is using.
Gate Port: the Gate port the program is using.
Mod Wheel: the CV port the modulation wheel is using.
Velocity Port: the CV velocity port.
Note Tracking: the CV program’s note track: lowest, highest or last.
Right-click the Program field to show a menu of some editing processes. See Editing
Processes > Track for more information.
40
Channel Strips
The inspector can display two “dynamic” channel strips, which vary slightly in appearance.
When the MIDI tab at the top of the inspector is selected, you can select the pad channel strip, program
channel strip, or MIDI/track channel strip.
When the Audio tab at the top of the inspector is selected, you can show or hide the audio track channel strip only.
When showing the pad channel strip (while using a drum program, keygroup
program, or clip program), the pad channel strip is on the left side, and the
corresponding program channel strip is on the right side.
The number of the pad is at the bottom of the channel strip.
The first menu shows the current pad number. Press a pad or click the field to
select a different pad.
Tip: This is useful for mixing your pads without having to enter the Pad Mixer.
The Inserts slots show any enabled or disabled effects for that pad. Double-click a
slot to open a window where you can load or change effects. Click the button next
to it to activate or deactivate the effect. Double-click a loaded effect slot to open a
window where you can edit the effect’s parameters.
Click and drag the Send knobs shows control the send levels for the pad.
The menu below the Send knobs shows where the pad is routed (which you can
change). Usually, this is set to Program.
To solo or mute the pad, click S or M (respectively).
To change the panning or level of the pad, adjust the pan knob or level slider.
The green level meter next to the slider shows the pad’s current volume level in dB.
See below for descriptions of the adjacent program channel strip.
41
When showing the program channel strip (while using a drum program, keygroup
program, clip program, or plugin program), the program channel strip is on the left
side, and the corresponding master (or submix) channel strip is on the right side.
The name of the program is at the bottom of the channel strip.
The first menu shows the current program (which you can change).
The Inserts slots show any enabled or disabled effects for that program. Doubleclick a slot to open a window where you can load or change effects. Click the
button next to it to activate or deactivate the effect. Double-click a loaded effect
slot to open a window where you can edit the effect’s parameters.
Click and drag the Send knobs shows control the send levels for the program.
The menu below the Send knobs shows where the program is routed (which you
can change).
To solo or mute the program, click S or M (respectively).
To change the program’s automation, click the program automation button to
cycle through its three states:
When off, the program will ignore automation data. If you have already
recorded or entered automation, clicking 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 clicking the button.
Important: If you have already recorded automation and turn it off, the track will
still use the effect and its parameter values at the point where you turned it off.
When set to Read (R), the program will read automation data but will not
record any additional automation over it. You can still manually edit and enter
automation. (Think of this as a protective feature to prevent accidental
changes to your automation while recording.)
When set to Write (W), the program can record automation. (If you have any
Q-Link knobs assigned to automatable parameters, make sure not to touch
any accidentally while you are recording.)
Tip: You can quickly set all programs and audio tracks to the same
automation by clicking the global automation button in the upper-right corner
of the window. See General Features > Automation to learn about this.
To change the panning or level of the program, adjust the pan knob or level
slider. The green level meter next to the slider shows the program’s current
volume level in dB.
See below for descriptions of the adjacent master channel strip.
When showing the MIDI/track channel strip, the MIDI/track channel strip is on the
left side, and the corresponding program channel strip is on the right side.
The first menu shows the current track (which you can change) and its name.
The second menu shows the name of the program the track is using (which you
can change).
To solo or mute the track, click S or M (respectively).
To change the panning or level of the track, adjust the pan knob or level slider.
The blue level meter next to the slider shows the track’s current velocity level.
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
plugin will then handle these messages as it normally would.
See above for descriptions of the adjacent program channel strip, shown only when
using a drum program, keygroup program, plugin program, or clip program.
42
When showing the audio track channel strip, the audio track channel strip is on the
left side, and the corresponding master channel strip is on the right side.
The name of the track is at the bottom of the channel strip.
The first menu defines the input source of the external audio signal (Input 1,2,
Input 3,4, or one of Input 1–4).
The Inserts slots show any enabled or disabled effects for that track. Double-click
a slot to open a window where you can load or change effects. Click the button
next to it to activate or deactivate the effect. Double-click a loaded effect slot to
open a window where you can edit the effect’s parameters.
Click and drag the Send knobs shows control the send levels for the track.
The menu below the Send knobs shows where the track is routed (which you can
change).
To solo or mute the track, click S or M (respectively).
To change the audio track’s automation, click the track automation button to
cycle through its three states:
When off, the audio track will ignore automation data. If you have already
recorded or entered automation, clicking 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 clicking the button.
Important: If you have already recorded automation and turn it off, the track will
still use the effect and its parameter values at the point where you turned it off.
When set to Read (R), the audio track will read automation data but will not
record any additional automation over it. You can still manually edit and enter
automation. (Think of this as a protective feature to prevent accidental
changes to your automation while recording.)
When set to Write (W), the audio track can record automation. (If you have
any Q-Link knobs assigned to automatable parameters, make sure not to
touch any accidentally while you are recording.)
Tip: You can quickly set all programs and audio tracks to the same
automation by clicking the global automation button in the upper-right corner
of the window. See General Features > Automation to learn about this.
To change the panning or level of the track, adjust the pan knob or level slider.
To record-enable the track, click the Record Arm button. When you begin audio
recording, the audio signal will be recorded to this track.
Tip: You can select multiple tracks in the Track View by pressing and holding Shift
while clicking the Arm button to each track.
See below for descriptions of the adjacent master channel strip.
When viewing the master or submix channel strip:
The master output numbers or submix number are the bottom of the channel strip.
The Inserts slots show any enabled or disabled effects for those master outputs or
that submix. Double-click a slot to open a window where you can load or change
effects. Click the button next to it to activate or deactivate the effect. Double-click
a loaded effect slot to open a window where you can edit the effect’s parameters.
For submix channel strips, click and drag the Send knobs shows control the send
levels for the track.
For submix channel strips, the menu below the Send knobs shows where the
submix is routed (which you can change).
To mute the master output or submix, click M.
To change the panning or level of the master output or submix, adjust the pan
knob or level slider. The green level meter next to the slider shows the current
volume level in dB.
43
Browser
The Browsers let you navigate your hard disks to load samples, sequences, songs, etc. Using filter buttons and userdefinable folders, you can easily adapt it to your preferred workflow. You can also audition (preview) your samples
before loading them.
To show the Browsers, do any of the following:
•
Press F to show the File Browser, X to show the Expansion Browser, or S to show the Media Browser.
•
Click the menu (≡) icon, select View > Browser, and then click File Browser, Expansion Browser, or
Media Browser.
•
In the lower-right corner, click the hard-drive icon to show the File Browser, list icon to show the Expansion
Browser, or six-rectangles icon to show the Media Browser.
File Browser
When the File Browser is selected, you can do any of the following:
To move up one folder level, click the  icon next to the file path.
To select a file or folder, click it once.
To enter a folder, double-click it.
To load a sample directly to a pad, click and drag the sample onto a pad
in the lower half of the window.
To load a selected file to the project’s sample pool, double-click it. If the
file is a sample, it will be loaded to the project’s sample pool. If the file is a
project, it will be loaded in its entirety (you will be asked if you want to close
your current project).
To load all files in a selected folder, click and drag the folder onto
anywhere in the window outside of the File Browser.
To preview a selected sound, click and hold Play () in the lower-left
corner of the Browser.
To enable or disable the audition function and set its volume level, click
the volume icon in the lower-left corner of the Browser. Click and drag the
level slider left or right to set the volume level.
To get the most efficient use of the File Browser, set the file paths to your
favorite drive locations first. There are five folder buttons labeled 1–5 at the
top. You can set these to be shortcuts to five locations on your computer’s hard
drive or any connected storage devices, giving you quick access to your files.
To assign the current location to a folder button, press and hold Shift, and
then click one of the folder buttons (1–5). Now, when you click that folder
button again, the File Browser will show that folder’s content immediately.
Use the five filter buttons to show only specific types of files in the list below.
To show project files only, tap the Proj/page button.
To show sequence files only, tap the Seq/bars button.
To show program files only, tap the Prog/four-squares button.
To show sample files only, tap the Sample/waveform button.
To show all file types, tap the All button.
To show or hide MPC project folders, tap the MPC folder icon in the lowerright corner.
44
Expansion Browser
When the Expansions Browser is selected:
Your available MPC Expansions will appear in the Browser, which you can expand or collapse.
MPC Expansions may have lists of patches that you can expand or collapse, as well.
To preview a selected sound, click and hold Play () in the lower-left corner of the Browser.
To enable or disable the audition function and set its volume level, click the volume icon in the lower-left
corner of the Browser. Click and drag the level slider left or right to set the volume level.
Media Browser
When the Media Browser is selected:
Your MPC Expansions will appear under the Expansions panel, which you can expand or collapse.
You can filter through your media library in the Filter panel, which you can expand or collapse.
Use the Search field to browse your media by search term.
To preview a selected sound, click and hold Play () in the lower-left corner of the Browser.
To enable or disable the audition function and set its volume level, click the volume icon in the lower-left
corner of the Browser. Click and drag the level slider left or right to set the volume level.
Use the four filter buttons to show only specific types of files in the list below.
To show program files only, tap the Program/four-squares button.
To show project files only, tap the Project/page button.
To show sequence files only, tap the Sequence/bars button.
To show sample files only, tap the Sample/waveform button.
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Editors
You can switch the editor between the Grid Editor, Wave Editor, and List Editor, depending on what mode you are in.
To enter each editor, click Grid, Wave, or List below the mode icons.
In all three editors, these buttons are available in the upper-right corner:
Click the Hitting Pad Selects All Events icon to turn the feature on (red) or off
(grey). 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.
Click the left-arrow icon to undo your last action. Click the right-arrow icon
to redo the last action you undid.
Click the Export Audio (waveform) icon to export the track as an audio sample
to an Exports folder in your MPC documents. If you have already done this, the
icon will be red. Press and hold Shift and click the icon to reset it to grey.
Click the Export MIDI (MIDI notes) icon to export the track as a MIDI
sequence to an Exports folder in your MPC documents. If you have already
done this, the icon will be red. Press and hold Shift and click the icon to reset
it to grey.
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Grid Editor
The Grid Editor 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 Editor of a drum program.
Grid Editor of a keygroup program or MIDI program.
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In the Grid Editor, the three icons enable you to use different functions in the grid. Click one
to select its mode:
Pencil: Draw Mode:
To enter a note in an empty grid square, click the square.
To select a note, click it.
To move a note, click and drag it to another grid square.
To erase a note, double-click it.
Select Box: Select Mode:
To select a note, click it.
To select multiple notes, click and drag across the grid to create a box around them.
To move a note, click and drag it to another grid square.
To move multiple notes, select them as described above, and click and drag them.
Eraser: Erase Mode:
To erase a note, click it.
To adjust the velocity of the selected notes (manually), click Velocity in the automation lane below the grid to
select it, and then click and drag the handle/handles below the note/notes. Each note’s velocity is represented by a
vertical bar. The higher and more red the bar is, the higher the velocity is. The current velocity value will appear next
to the cursor.
To show the automation of an automatable parameter, click the down arrow () in the lower-left corner of the
Grid Editor. You can select a track, program, or pad parameter—the parameter name will appear below Modifier.
You can then use the pencil, select box, or eraser tool to create and edit automation for this parameter in the
automation lane.
To show or hide the automation lane, click the up or down arrow (∧ or ∨) button next to the horizontal scroll bar
under the grid.
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Wave Editor
The Wave Editor lets you view and edit the samples in a project.
Use the Layer menu to select the layer (of the current pad) with the sample you want to view.
Use the Sample menu to change the sample assigned to the current pad.
Use the Start field to determine the position (in samples) where the pad’s playback will start. The minimum value is
0, and the maximum value is the End value.
Note: When Loop Lock is on, the loop position (as determined in the Loop field) is the same as the pad start. When
off, the loop position is independent from the pad start.
Use the End field to determine the position (in samples) where the pad’s playback will stop. The minimum value is
the Start value, and the maximum value is the sample’s total length (in samples).
Use the Loop menu to select the Pad Loop mode.
Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set
the Slice field to Pad instead of All or a slice number.
Off: The sample will not loop.
Fwd: You can hold down the pad to cause that sample to repeat from the Loop position to the end of the sample.
Release the pad to stop the repeating playback.
Rev: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the sample to the
Loop position. Release the pad to stop the repeating playback.
Alt: You can hold down the pad to cause that sample to play from the Loop position to the end of the sample and
then play in reverse until it reaches the Loop position again. This will repeat as long as you are holding the pad
down. Release the pad to stop the repeating playback.
Use the Slice field to select what part/parts of the sample will play:
All: The entire sample will play.
Pad: The sample will play from the Start position to the End position. 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.
Use the Offset field to determine a time offset for the sample’s playback.
Positive values: When the pad is played, playback will start immediately but at a later point in the sample
specified by the offset value.
Negative values: When the pad is played, playback will be delayed by the amount specified by the offset value.
Click Rev to reverse the sample’s playback.
Click Warp to lengthen or shorten the sample (based on the BPM) without changing its pitch.
49
Use the Stretch field to set the “stretch factor,” which affects how the sample is warped (if Warp is on).
Use the BPM field to enter a tempo, which affects how the sample is warped (if Warp is on).
Click the gear icon to determine settings for the Cue Play, Cue Preview, or Slice Preview. You can also select
Process Sample to apply an editing process to the sample.
List Editor
In the List Editor, you can perform the same operations as in the Grid Editor but with a different interface/workflow.
The sequence for the track will be shown as a list of note events, with the following parameters:
#: The number of the note event.
Time: The position of the note event in bars, beats, and ticks. Hover the mouse over the value to see its
equivalent in pulses. If multiple note events occur at the same time, additional note events will be listed
immediately below, but their Time values will be greyed out.
Pad/Note: The pad and/or corresponding MIDI note number. For drum programs, you will see the pad number.
For keygroup programs, plugin programs, and midi programs, you will see the note.
Length: The length of the note event in ticks. Click and drag the field to adjust it.
Velocity: The velocity of the note event with a velocity bar of corresponding color and length below it. Click and
drag the field to adjust it.
Mod Type: The type of modifier used on the note event via automation.
Value: The value of the modifier automation. Click and drag the field to adjust it.
Click the View menu in the lower-right corner of the List Editor to select which parameters are shown.
To show or hide specific parameter columns, right-click one of the parameter names, and select the parameter
column to show or hide. You can also choose to Auto-size this column or Auto-size all columns to fit the contents.
The red arrow () on the left side of the list represents the audio pointer's current position. If your sequence is
playing, the arrow will move accordingly.
50
Panels
In each mode, the lower half of the window may show several different
panels, which you can show or hide by clicking the selector in the
upper-left part of this area.
This chapter describes some of the available panels.
QLinks
The QLinks panel shows the 16 Q-Link knobs with their assigned
parameters listed below.
Click the QLink Mode menu to select the current edit mode of the Q-Link
knobs:
Project: In this edit mode, the Q-Link knobs can control 16 parameters
within the current project overall.
Program: In this edit mode, the Q-Link knobs can control 16 program
parameters.
Pad Scene (for drum programs only): In this edit mode, the Q-Link knobs
can control 16 parameters for the currently selected pad.
Pad Parameters: In this edit mode, the 16 Q-Link knobs correspond to the
16 pads, each one controlling the same parameter for each pad. This is
useful if you need to adjust the same parameter on multiple pads at once
rather than having to select and edit each pad individually.
Screen: In this edit mode, the Q-Link knobs will control a parameter or
group of parameters in your currently selected mode (e.g., Main Mode,
Sample Edit Mode, etc.).
Pads
The Pads panel shows the 16 pads with their assigned samples. All pads will
display their assigned colors.
Click a Pad Bank letter at the top of this panel to select a pad bank.
51
Program Editor
The Program Editor panel contains the parameters for Program Edit Mode, which vary depending on the type of
program.
Parameters
The Parameters panel shows the available parameters and editing
processes in Sample Edit Mode.
52
Project
The Project panel is a list of all available
programs, sequences, and samples in the project.
To delete samples from the project, click the
trash can icon. In the screen that appears, check
Purge Unused Samples to delete all unused
samples from the project, or check Delete All
Samples to delete all samples from the project.
Sampler & Looper
The Sampler and Looper panels show similar
controls for setting levels, monitoring, inputs, and
effects of your incoming audio signal.
Pad Banks & Mute
The Pad Banks and Mute panels let you select pads, assign pad or track groups, and adjust timing correct settings
in Pad Mute Mode and Track Mute Mode.
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Sequence List
The Sequence List panel has different appearances in
Next Sequence Mode and Song Mode.
In Next Sequence Mode, it shows a list of all available
sequences in your project as well as their length and
tempo.
In Song Mode, it shows the list of steps in the song,
including the number of repeats, the tempo of each
sequence, and the length of each step.
Performance Controls
The Performance Controls panel shows the available
commands you can execute in Next Sequence Mode.
Song Parameters
The Song Parameters panel shows the available
controls to create a song in Song Mode. This includes
controls for inserting and deleting song steps, a
sequence selector for the current step, and parameters
that determine how long each step plays.
54
Preferences
The Preferences window contains many customizable elements of the software. Click the corresponding tab on the
left to select it (e.g., MIDI, Sequencer, etc.). Click the OK button to close the Preferences window. Preferences will
be automatically saved.
Audio
Audio Device Type and Device (Windows) or Output and Input (Mac OS X): Click these drop-down menus to
select an audio hardware driver in your computer system.
Test: Click this button to play a test tone. This is for checking your audio output. Careful! You should lower the
volume on your audio system beforehand.
Sample Rate: Click this to drop-down menu to select the desired sample rate for your project. This depends on
the available sample rates of the type of MPC hardware you are using or of your audio interface (i.e., select 96000
Hz only if your interface allows a 96 kHz sample rate).
Audio Buffer Size: Click this drop-down meny to set your audio system's latency. Lower values result in a more
immediate playing response but also more CPU consumption. If you are working with larger projects, this may
cause audible clicks and pops. Higher values are more CPU-friendly but can produce more delay between
pressing a pad and hearing the corresponding sound. The ideal audio buffer size also depends on your
computer's CPU performance. Experiment with this to find the best setting for your system.
Latency Adjust: If there is a delay in your audio system even after experimenting with the Audio Buffer Size,
click and drag this field up or down to set an offset (in milliseconds).
MIDI
Active Midi Inputs: These checkboxes represent the active installed MIDI inputs on your computer system.
Midi Mapping: Click each drop-down menu to define the Midi Out Port A to D. Here, you can select the MIDI
output your sequencer data is routed to.
Note: When using the MPC software as a plugin, the only option you can select for your Midi Out Port is your
host software (DAW).
Plugins
Here you can select up to four locations on your hard disk where the software will look for installed VST or AU plugins
that you can use as insert or send effects in the MPC software.
Click the … button to the right of the field to select a desired location. After selecting a new location, we recommend
using the Scan New function. When you make settings for the first time, you should click Rescan All to perform a
complete scan of all selected plugin locations.
Auto Load/Save
The settings on this screen determine if (and how) projects are automatically saved.
Auto Load File: Click the … button to select a project (.xpj) or program (.xpm) on your hard disk to load
automatically anytime the software opens.
Tip: You can "bypass" or ignore the template by opening the MPC software while holding down your computer's
Shift key. This will open an empty project instead of your selected Auto Load file.
Template File: Click the … button to select a sequence template to load automatically anytime you create a new
sequence.
Enabled: When enabled, the MPC software will automatically save your current project after each Timeout
interval. When disabled, the MPC software will not automatically save your project; you may save only manually.
Timeout: Use this field to select how often your project will automatically save.
55
Sequencer
The settings on this screen determine how sequencing works in Grid Editor and in the Step Sequencer.
Display Resolution: This is the display resolution (in PPQN—pulses per quarter note) of pulse values in certain areas
of the operating system. Please note that this setting affects the display resolution, not the timing.
Instant Track Mute: When disabled, if you mute a track, its Note On messages will be ignored, and samples and
notes that are playing will finish playing their entire length (this is how legacy MPCs’ track-muting worked). This is
useful if you are using loops and want a loop to play to the end of a bar but not play the next time the sequence
loops. When enabled, if you mute a track, the MIDI track volume (0) will be sent. The loop will continue to play but
at zero volume, allowing the loop to continue playing when the track is unmuted. This is useful when you want to
have the track muted immediately.
Play Track Mute and Solo Events: When enabled, track mute and solo events are played back when you are in
Track Mute Mode. When disabled, track mute and solo events will not be played back while in Track Mute Mode.
Record Track Mute and Solo Events: When enabled, track mute and solo events are recorded when you are in
Track Mute Mode (timing correct settings will affect the recorded position events). When disabled, track mute and
solo events will not be recorded while in Track Mute Mode. This feature is useful if you want to use Track Mute
Mode to record track mutes or solos into your sequences as opposed to using Track Mute Mode for performance
or listening purposes only.
Record Pad Aftertouch Event: When enabled, pad aftertouch data (from your MPC controller hardware’s
pressure-sensitive pads) will be recorded. When disabled, pad aftertouch data will be ignored.
Place Events Recorded During Count-In at Start Point: When enabled, pressing a pad during the recording’s
pre-count will record that note event at the start of the recording (this is how the MPC3000 worked). When
disabled, no notes will be recorded until the pre-count is finished and recording has begun.
Truncate Duration: This determines if/how events are cropped if they exceed the length of the current Sequence:
To Sequence Length: If the length of an event exceeds the length of the sequence, it will be truncated. This
ensures that the event will not overlap itself when the sequence loops.
To Sequence End: If an event exceeds the length of the sequence, it will be truncated to the end of the
current sequence. In other words, the event will stop playing when the sequence ends or loops.
As Played: Events will play back exactly as they were recorded, even if they overlap themselves when the
sequence loops.
QLink Swing Applied On Release: When this box is checked, moving the Qlink Swing parameter will apply the
timing correct settings (including the new Swing value) when you release the Q-Link knob.
Hardware
The settings on this screen determine the behavior of your MPC controller hardware’s pads as well as connected
footswitches.
Pad Threshold: This determines how much force is required to strike the pads for them to trigger.
Pad Sensitivity: This determines how the pads respond to touch. At lower values, you need to use more force to
generate a high-velocity note. At higher values, it is easier to generate high-velocity notes, even if you do not use
much force while pressing a pad.
Pad Curve: This determines how striking the pads translates into velocity values. The A
curve is essentially linear, while the B, C, and D curves are exponential.
Velocity & Aftertouch: View these meters when striking and pressing the pads to help
gauge the force and pressure you are applying to them. These meters are useful when
adjusting the Pad Threshold and Pad Sensitivity parameters (above).
Footswitch 1 & Footswitch 2: These determine how footswitches connected to your
MPC controller hardware will work. You can select either transport commands (e.g., Play
or Stop) or trigger commands for pads and the Function Buttons.
MIDI Control Mode Output: This determines which MIDI port your MPC controller hardware is using to send MIDI
messages to external MIDI devices. This option is available only when using MPC controller hardware.
Display: This determines how the display functions for a connected MPC Touch.
56
Screen Dimming: This determines how much time must pass before your MPC controller hardware automatically
dims its window to preserve its battery life.
Show Hardware Info: Click this button to open a window with information about your connected MPC controller
hardware (firmware version, driver version, etc.).
Project
The settings on this screen determine various default values for any new project that you create.
Default Tempo: This is the default tempo in BPM.
Default Master Tempo: When enabled, the default tempo value will be used for the master tempo. When
disabled, the default tempo will be used for sequences.
Default Sequence Bars: This determines the default number of bars of a new sequence.
Default Time Signature Numerator: This determines the number of beats per bar of a new sequence (the top
number of a time signature).
Default Time Signature Denominator: This determines the value of each beat of a new sequence (the bottom
number of a time signature).
Default Pad Slice: This determines how new samples will play when you load them or record them into a project.
When set to Pad, the Slice menu in Program Edit Mode will be set to Pad, which lets you set the start point, end
point, etc. for the layer. When set to All, the Slice menu in Program Edit Mode will be set to All, in which the entire
sample plays.
Default Drum/Keygroup Filter: This determines the default type of filter that drum and keygroup programs will use.
New Project Dialog: This determines what options you see when you start a new project. When set to Off, a new
project will be empty with no preconfigured settings except for the project defaults shown here. When set to
Demo, you can choose to load a demo project (from several different genres) as a starting point or an empty
project. When set to Demo/Template/Recent, you can choose to load a demo project, a project template file, or
an empty project.
Sync
The settings on this screen determine how the MPC software synchronizes with connected USB and MIDI devices.
Receive MIDI: This determines whether the MPC software receives MIDI Clock information (MIDI Clock), MIDI
Time Code information (MIDI Time Code (MTC)), or neither (Off).
MTC Frame Rate: This determines the frame rate used by MIDI Time Code (MTC), which is important for correct
timing, especially when working on film scoring projects. In most cases, you should select 25.
Send MIDI: This determines whether the MPC software sends MIDI Clock information (MIDI Clock), MIDI Time
Code information (MIDI Time Code (MTC)), or neither (Off).
Start Time: This is the starting time that will be sent when Send MIDI is set to anything other than Off. The time is
formatted in hours:minutes:seconds:frames.
Send Port 1 & Send Port 2: These are the MIDI ports over which MIDI Clock or MTC information will be sent.
Receive MMC: When enabled, the MPC software will be able to receive MIDI Machine Control (MMC) information.
When disabled, the MPC software will not receive this information.
Send MMC: When enabled, the MPC software will be able to send MIDI Machine Control (MMC) information.
When disabled, the MPC software will not send this information.
57
Drag & Drop
This tab shows settings that determine how files behave when you drag and drop them into the software window.
Other
The settings on this screen determine how other features work in the hardware and operating system.
Tap Tempo: This determines how many times you have to press the Tap Tempo button before the new tempo is
recognized.
Flash Tap Tempo Light: When enabled, the Tap Tempo button’s light will flash in time with the tempo. When
disabled, the Tap Tempo button’s light will be off.
Bank Button Press: This determines how the Pad Bank buttons work.
Select A-D: Pressing a Pad Bank button once will select the corresponding bank from Pad Banks A–D.
Pressing and holding Shift while pressing a Pad Bank button will select the corresponding bank from Pad
Banks E–H.
Select/toggle bank: Pressing a Pad Bank button will alternate between the corresponding bank from Pad
Bank A–D and Pad Bank E–H. In other words, you do not need to hold Shift to select one of Pad Banks E–H.
Filter ‘All Notes Off’ CC: When enabled, “All Notes Off” (“MIDI panic”) messages will be ignored. This is useful if
you are using an external MIDI device that can send these types of messages but you want to filter them out.
When disabled, “All Notes Off” messages will be received normally.
Program Change: This determines what an incoming MIDI program change message will change: a Program,
Sequence, or Track.
Vintage Mode: This determines the type of emulation applied to the audio output. You can apply the particular
sonic qualities of, for example, the MPC3000 or MPC60, or of course no emulation (None).
Sampling Bit Depth: This determines bit depth of the audio recorded from a sample.
Audition Auto Play: This determines how long a sample will sound when auto-previewing it.
Cue Preview: This determines if/how audio is played as you move the cue playhead. As you move the cue
playhead through a sample waveform, you can set it to play the small part of the sample before the cue playhead
(Before), play the small part of the sample after the cue playhead (After), or not play at all (Off). You can also set
this in Sample Edit Mode (see Sample Edit Mode > Settings).
Slice Preview: This determines if/how audio is played as you move a slice marker. As you move the slice marker
through a sample waveform, you can set it to play the small part of the sample before the slice marker (Before),
play the small part of the sample after the slice marker (After), or not play at all (Off). You can also set this in
Sample Edit Mode (see Sample Edit Mode > Settings).
Screensaver Disable: This determines if/when your computer’s screensaver is disabled while using the MPC
software (using your MPC controller hardware in Controller Mode):
Never: Your computer’s screensaver will function normally.
When hardware used: As long as your MPC controller hardware is connected to your computer and being
used, your computer’s screensaver will be disabled.
When hardware attached: As long as your MPC controller hardware is connected to your computer and
powered on, your computer’s screensaver will be disabled. It will function normally again if you power off or
disconnect your MPC controller hardware from your computer.
Always: Your computer’s screensaver will be disabled as long as the MPC software is open (whether or not
your MPC controller hardware is connected or powered on).
Collect Usage Statistics: This determines whether or not your usage statistics will be sent occasionally to us,
enabling us to improve the MPC experience.
Threads: This determines how many cores of your computer’s processor will be used to render audio. The
available range depends on your processor.
Audio Warp Algorithm: This determines how a sample is “warped” when you adjust the length of a sample
without changing its pitch (e.g., the Warp function in Audio Edit Mode for audio tracks or in Program Edit Mode for
clip programs).
Auto Warp: This determines how recorded audio track regions are warped. When set to On, any audio track
region that you record will be warped automatically to match the current sequence tempo. You can then adjust the
sequence tempo while the audio track region remains in time.
Note: When you record an audio file, the current sequence tempo will be embedded with it. This information is
stored within the sample file when you save the project. When you warp an audio track region, the warping
algorithm uses this sequence tempo and the current value in the BPM field to generate the “stretch factor.”
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Time Correct
The Time Correct window contains various settings to help quantize the note events in your sequence.
To open the Time Correct settings, click the menu (≡) icon, select Edit, and click Time Correct. Alternatively,
press Ctrl+Shift+T (Windows) or +Shift+T (Mac OS X).
To apply the settings you selected, click Do It.
To cancel and return to the previous screen, click 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.
Length: The end points of note events will be extended or shortened so that each event’s length is a multiple of
the time division, regardless of where it is in the grid. The start points will remain untouched.
Legato: The end points of note events will be extended or shortened to create a long, unbroken phrase from the
first note event’s start point to the last note event’s end point. Each note event will sustain until another note event
starts. If multiple note events start at the same time (and are not the last note events), their lengths will become
identical. Selecting Legato disables all other options in this window.
Without legato applied.
With legato applied.
Use the Time Division selector to set the quantization value. Note events will “snap” to these time divisions on the
grid. The T indicates a triplet-based value.
Alternatively, click the TC field at the top of the window and select a time division.
Use the Swing field to set the amount of swing from 50% to 75%. Swing lets you “shuffle” your beats—from subtle
to extreme.
Use the Shift Timing field to shift all 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).
Use the Events selector to set the target range for the time correction. You can apply the time correction to All note
events or to just the Selected ones. When Range is selected, you can define the bars as well as the pads or keys
that will be quantized.
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Metronome
The Metronome menu contains all settings regarding the metronome (click track).
To view the metronome settings, click the menu (≡) icon, select Tools, and click Metronome.
Use the Count-In menu 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 Enable menu to set if/when the metronome is enabled.
Off disables the metronome.
Play enables the metronome sound during playback only.
Record enables the metronome sound during recording only.
Record + Play enables the metronome to happen in both Record and Playback Modes.
Use the Rate menu 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 menu 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 Metro meter at the top of the window to set the volume of your metronome click.
Click the metronome icon at the top of the window to enable or disable the metronome.
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Editing Processes
You can use the processes described in this chapter to edit an Audio Region, Sequence, Track, or Program.
Audio Region
You can use any of these functions on the currently selected region of an audio track. These functions are shown in
the menu (Edit > Audio Region) only if the Audio tab is selected in the inspector. To learn about using many of these
functions in Grid Editor, see Views > Grid Editor > Audio Tracks.
•
The Clear Regions function erases all regions from the audio track without erasing the track itself.
To clear all track regions, select the Audio tab, click the menu (≡) icon, select Edit > Track, and click
Clear Regions. Click OK to continue or Cancel to return to the previous screen. Alternatively, right-click the
Track field in the inspector and click Clear Regions.
•
The Reset Channel Strip function:
o clears all Insert effect slots;
o turns Mute, Solo, automation, and Monitor off;
o resets the pan knob to the center;
o resets the level slider to 0.00 dB; and
o turns the Record Arm button off.
It does not change the track’s inputs or outputs.
To reset the channel strip, select the Audio tab, right-click the Track field in the inspector and click Reset
Channel Strip. Click Reset to continue or Cancel to return to the previous screen.
•
The Copy Audio Track function copies the contents of one track to another.
To copy the audio track, select the Audio tab, click the menu (≡) icon, select Edit > Sequence, and click
Copy Audio Track.
Click the Copy Contents of Track field and select a track. This is the track whose events you want to
copy.
Click the Over Contents of Track field and select a track. This is the track where the source track will be
copied.
Click OK to continue or Cancel to return to the previous screen.
•
Duplicate copies and pastes the track region immediately after the original one.
To duplicate the track region, click the menu (≡) icon, select Edit > Audio Region, and click Duplicate.
Alternatively, press Ctrl+D (Windows) or +D (Mac OS X).
•
Mute silences the track region.
To mute the track region, click the menu (≡) icon, select Edit > Audio Region, and click Mute.
Alternatively, press Ctrl+M (Windows) or +M (Mac OS X).
•
Reverse reverses the track region.
To reverse the track region, click the menu (≡) icon, select Edit > Audio Region, and click Reverse.
Alternatively, press Ctrl+R (Windows) or +R (Mac OS X).
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•
Warp lengthens or shortens the track region without changing its pitch.
To warp the track region, click the menu (≡) icon, select Edit > Audio Region, and click Warp.
Alternatively, press Ctrl+W (Windows) or +W (Mac OS X).
Use the BPM field above the Grid Editor to change the tempo, which will change the length of the track
region accordingly.
Use the Semi and Fine fields above the Grid Editor to change the pitch (this is useful for matching the
durations of two samples with different pitches).
Sequence
You can use any of these functions on the currently selected sequence.
•
The Clear function erases all events from the sequence and resets all of its settings.
To clear the sequence, click the menu (≡) icon, select Edit > Sequence, and click Clear. Click OK to
continue or Cancel to return to the previous screen. Alternatively, right-click the Sequence field in the
inspector and click Clear. Click OK to continue or Cancel to return to the previous screen.
•
The Half Length function will immediately halve the length of the sequence (without deleting any note events).
To halve the sequence length, click the menu (≡) icon, select Edit > Sequence, and click Half Length.
Alternatively, right-click the Sequence field in the inspector and click Half length.
•
The Double Length function will immediately double the sequence and copy all events from the first half to the
second half.
To double the sequence length, click the menu (≡) icon, select Edit > Sequence, and click Double
Length. Alternatively, right-click the Sequence field in the inspector and click Double length.
•
The Insert Blank Bars function adds empty bars to a sequence at a specified point.
To insert blank bars, click the menu (≡) icon, select Edit > Sequence, and click Insert Blank Bars.
Alternatively, right-click the Sequence field in the inspector and click Insert bars.
Use the Sequence field to select the desired sequence.
Use the # of Bars field to set how many bars you will insert.
Use the two Time Sig fields to set the time signature of the inserted bars.
Use the Before Bar field to set where you will insert the bars. The bars will be inserted before this one.
Click Do It to continue or Cancel to return to the previous screen.
•
The Delete Bars function removes a range of bars from a sequence.
To delete bars, click the menu (≡) icon, select Edit > Sequence, and click Delete Bars. Alternatively, rightclick the Sequence field in the inspector and click Delete bars.
Use the Sequence field to select the sequence whose bars you want to delete.
Use the First Bar and Last Bar fields to set the range of bars you want to delete. The bar in each field
and all bars in between them will be deleted.
Click Do It to continue or Cancel to return to the previous screen.
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•
The Copy Bars function copies a range of bars from a sequence and adds them to another at a specified point.
To copy bars, click the menu (≡) icon, select Edit > Sequence, and click Copy Bars. Alternatively, rightclick the Sequence field in the inspector and click Copy bars.
Use the Copy Bars From > Sequence field to select the “source” sequence. This is the sequence whose
bars you want to copy.
Use the First Bar and Last Bar fields to set the range of bars to copy in the source sequence.
Use the Copy Bars To > Sequence field to select the “destination” sequence. This is the sequence
where the source sequence bars will be copied.
Use the After Bar field to set where you want to add the copied bars. The copied bars will be inserted
after this one.
Use the Copies field to set how many instances of the copied bars you want to add.
Click Replace to overwrite the destination sequence.
Click Merge to add the events to the destination sequence without erasing anything.
Click Cancel to return to the previous screen.
•
The Copy Events function copies a range of events from a sequence and add them to another at a specified
point.
To copy events, click the menu (≡) icon, select Edit > Sequence, and click Copy Events. Alternatively,
right-click the Sequence field in the inspector and click Copy events.
Use the Copy Events From > Sequence field to select the “source” sequence. This is the sequence
whose events you want to copy.
Use the Copy Events From > Track field to select the “source” track. This is the track whose events you
want to copy.
Use the Copy Events From > Bar, Beat, and Tick fields to set the time range of the events you want to
copy. The left fields set the start of the time range, and the right fields set the end of the time range.
Use the Copy Events To > Sequence field to select the “destination” sequence. This is the sequence
where the source sequence events will be copied.
Use the Copy Events To > Track field to select the “destination” track. This is the track where the source
track events will be copied.
Use the Copy Events To > Bar, Beat, and Tick fields to set where you want to add the copied events.
The events will be added after this point.
Use the Copies field to set how many instances of the copied events you want to add.
Click Replace to overwrite the destination sequence.
Click Merge to add the events to the destination sequence without erasing anything.
Click Cancel to return to the previous screen.
•
The Copy Sequence function copies the contents of one sequence to another.
To copy a sequence, click the menu (≡) icon, select Edit > Sequence, and click Copy Sequence.
Alternatively, right-click the Sequence field in the inspector and click Copy.
Use the Copy Contents of Sequence field to select the “source” sequence. This is the sequence whose
events you want to copy.
Use the Over Contents of Sequence field to select the “destination” sequence. This is the sequence
where the source sequence will be copied.
Click Do It to continue or Cancel to return to the previous screen.
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•
The Copy Track function copies the contents of one track to another.
To copy the track, select the Audio tab, click the menu (≡) icon, select Edit > Sequence, and click Copy
Track.
Use the Copy Contents of Track field to select the “source” track. This is the track whose events you
want to copy.
Use the Over Contents of Track field to select the “destination” track. This is the track where the source
track will be copied.
Click Do It to continue or Cancel to return to the previous screen.
•
The Transpose function transposes a range of events on a track in a sequence. The events within that range will
shift accordingly in the Grid Editor.
To transpose the track, click the menu (≡) icon, select Edit > Sequence, and click Transpose.
Use the Sequence field to select the sequence you want to transpose.
Use the Track field to select the track you want to transpose within the sequence.
Use the two sets of Bar, Beat, and Tick fields to set the time range of the sequence you want to
transpose. The left fields set the start of the time range, and the right fields set the end of the time range.
For drum programs, use the two Pad fields to select the “source” pad (whose events you want to move)
and “destination” pad (where the events will be placed). Tap each field and then press the desired pad.
For keygroup programs, plugin programs, and MIDI programs, set the range and amount of
transposition:
Range: Use the two Note fields to set the range of notes of the events you want to transpose. Note
events within this range will be transposed, while note events outside of this range will remain
unchanged.
Transpose: Use this field to set how many semitones up or down you want to transpose the note
events.
Click Do It to continue or Cancel to return to the previous screen.
•
The Erase function erases all or part of a track in a specific sequence.
To erase events in the track, click the menu (≡) icon, select Edit > Sequence, and click Erase.
Alternatively, right-click the Sequence field in the inspector and click Erase.
Use the Sequence field to select the sequence you want to erase.
Use the Track field to select the track you want to erase within the sequence.
Use the Bar, Beat, and Tick fields to set the time range of the sequence you want to erase. The left fields
set the start of the time range, and the right fields set the end of the time range.
Select one of the Erase options to select what types of events you erase:
o All erases all pad events from the designated time range and reset all of its settings.
o Automation erases only automation from the designated time range.
o Note erases only specific pad events from the designated time range. In the diagram of the eight
pad banks that appears, press each pad in each bank to select or deselect its notes.
o Except Note erases everything except pad events from the designated time range.
Click Do It to continue or Cancel to return to the previous screen.
•
The Events Double Speed function immediately halves the lengths of all note events on all tracks in the
sequence as well as the distance between them. In other words, all tracks’ notes are pressed closer together so
the sequence sounds like it is playing at twice the previous speed. This does not actually affect the pitches of
notes or the tempo.
To double the speed of all note events in the sequence, click the menu (≡) icon, select Edit > Sequence,
and click Events Double Speed.
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•
The Events Half Speed function immediately doubles the lengths of all note events on all tracks in the
sequence as well as the distance between them. In other words, all tracks’ notes are spread further apart so the
sequence sounds like it is playing at half of the previous speed. This does not actually affect the pitches of notes
or the tempo.
•
•
To halve the speed of all note events in the sequence, click the menu (≡) icon, select Edit > Sequence,
and click Events Half Speed.
Export as MIDI lets you export the current sequence as a standard MIDI (.mid) file.
To export the sequence as a MIDI file, click the menu (≡) icon, select Edit > Sequence, and click Export
as MIDI. Alternatively, right-click the Sequence field in the inspector and click Export as MIDI.
In the Export Curent Sequence as Standard MIDI file window, do any of the following:
To select the storage device you want to view, click the  icon net to the file path. If you have
storage devices connected to your MPC controller hardware, they will appear in this column, as well.
To enter a folder, double-click it or press Enter.
To create a new folder, click New Folder, type a name for the new folder, and then press Enter or
click OK to confirm the name, or press Esc or click Cancel to keep the original name. You will
immediately enter the new folder.
To move up one folder level, click the  icon.
To name the file, click the File field at the bottom of the window, and type a name.
To save the file, press Enter or click Save.
To cancel, press Esc or click Cancel.
•
The Bounce to Sample function immediately renders the sequence (all of its tracks) as an audio sample and
places it in the project’s sample pool. By default, it will be named Bounce - and appended with the sequence
name. If you have already used this function on this sequence, then it will create another audio sample appended
with the next-highest number.
To bounce the sequence to a sample, click the menu (≡) icon, select Edit > Sequence, and click Bounce
to Sample. Alternatively, right-click the Sequence field in the inspector and click Bounce to sample. You
can also press Shift+Alt+S (Windows) or Shift+Option+S (Mac OS X).
•
The Bounce to New Audio Track function immediately renders the sequence (all of its tracks) as an audio track
in the project. The Audio tab will be automatically selected. By default, the sample will be named Bounce - and
appended with a number. This function does not work for tracks that use MIDI programs or CV programs.
To bounce the sequence to an audio track, click the menu (≡) icon, select Edit > Sequence, and click
Bounce to New Audio Track. Alternatively, right-click the Sequence field in the inspector and click Bounce
to new audio track. You can also press Alt+S (Windows) or Option+S (Mac OS X).
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Track
You can use any of these functions on the currently selected MIDI track.
•
The Delete function erases the entire audio track. This cannot be used on MIDI tracks.
To delete the track, select the Audio tab, click the menu (≡) icon, select Edit > Track, and click Delete.
Click OK to continue or Cancel to return to the previous screen. Alternatively, right-click the Track field in
the inspector and click Delete Audio Track.
•
The Clear function erases all note events from the current track.
To clear the track, click the menu (≡) icon, select Edit > Track, and click Clear. Alternatively, right-click the
Track field in the inspector and click Clear. Click Clear to continue or Cancel to return to the previous
screen.
•
The Explode function immediately splits the current track into multiple tracks—one for each distinct pad or note
(pitch, not event). The current track also remains present and intact, while each track created from it is labeled
with the track name and pad name or number.
To explode the track, click the menu (≡) icon, select Edit > Track, and click Explode.
•
The Events Double Speed function immediately halves the lengths of all note events on the track as well as the
distance between them. In other words, the track’s notes are pressed closer together so the track sounds like it
is playing at twice the previous speed. This does not actually affect the pitches of notes or the tempo.
To double the speed of all note events in the track, click the menu (≡) icon, select Edit > Track, and click
Events Double Speed.
•
The Events Half Speed function immediately doubles the lengths of all note events on the track as well as the
distance between them. In other words, the track’s notes are spread further apart so the track sounds like it is
playing at half of the previous speed. This does not actually affect the pitches of notes or the tempo.
To halve the speed of all note events in the track, click the menu (≡) icon, select Edit > Track, and click
Events Double Speed.
•
Export as MIDI lets you export the current track as a standard MIDI (.mid) file.
To export the track as a MIDI file, click the menu (≡) icon, select Edit > Track, and click Export as MIDI.
Alternatively, right-click the Track field in the inspector and click Export as MIDI.
In the Export Curent Track as Standard MIDI file window, do any of the following:
To select the storage device you want to view, click the  icon net to the file path. If you have
storage devices connected to your MPC controller hardware, they will appear in this column, as well.
To enter a folder, double-click it or press Enter.
To create a new folder, click New Folder, type a name for the new folder, and then press Enter or
click OK to confirm the name, or press Esc or click Cancel to keep the original name. You will
immediately enter the new folder.
To move up one folder level, click the  icon.
To name the file, click the File field at the bottom of the window, and type a name.
To save the file, press Enter or click Save.
To cancel, press Esc or click Cancel.
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•
The Bounce to Sample function immediately renders the track as an audio sample and places it in the project’s
sample pool. By default, it will be named Bounce - and appended with the sequence name. If you have already
used this function on this sequence, then it will create another audio sample appended with the next-highest
number.
To bounce the track to a sample, click the menu (≡) icon, select Edit > Track, and click Bounce to
Sample. Alternatively, right-click the Track field in the inspector and click Bounce to sample. You can also
press Shift+Alt+T (Windows) or Shift+Option+T (Mac OS X).
•
The Bounce to New Audio Track function immediately renders the track (for the current sequence only) as an
audio track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be named
Audio and appended with a number (e.g., Audio 002). This function does not work for tracks that use MIDI
programs or CV programs.
To bounce the MIDI track to an audio track, click the menu (≡) icon, select Edit > Track, and click
Bounce to New Audio Track. Alternatively, right-click the Track field in the inspector and click Bounce to
new audio track. You can also press Alt+T (Windows) or Option+T (Mac OS X).
Program
You can use any of these functions on the currently selected program. These functions are shown in the menu (Edit
> Program) only if the MIDI tab is selected in the inspector.
•
The Duplicate function immediately creates an identical program. The duplicate program will use the same name
but appended with a number (e.g., Program 002).
To duplicate the program, click the menu (≡) icon, select Edit > Program, and click Duplicate.
Alternatively, right-click a program in the Project panel and click Duplicate.
•
The Duplicate to Track function immediately creates an identical program on a new track. The duplicate
program will use the same name but appended with a number (e.g., Program 002). The new track will be named
Track and appended with a number (e.g., Track 06).
To duplicate the program to a new track, click the menu (≡) icon, select Edit > Program, and click
Duplicate to Track. Alternatively, right-click a program in the Project panel and click Duplicate to Track.
•
The Merge function lets you copy the pads (and their parameters) from one program into another, essentially
consolidating two programs into one. The name of the new program will be the names of the original two
programs separated by and.
To merge two programs, click the menu (≡) icon, select Edit > Program, and click Merge. Alternatively,
right-click a program in the Project panel and click Merge.
Use the Pads from program menu to select the program you want to copy.
Use the into program menu to select the program to which the copied pads will be added.
Select the Start on next bank checkbox if you want the copied pads to start on Pad 01 of the next
available bank. Deselect this checkbox if you want the copied pads to start on the next available pad,
regardless of the bank.
Click OK to continue or Cancel to return to the previous screen.
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•
The Delete function erases the program from the project. The samples used in that program will remain in the
project’s sample pool and any other programs that use them.
To delete the program, click the menu (≡) icon, select Edit > Program, and click Delete. Alternatively,
right-click the Program field in the inspector and click Delete. You can also right-click a program in the
Project panel and click Delete.
•
The Rename function lets you enter a new name for the program. Type a name and click OK to continue or
Cancel to return to the previous screen.
To rename the program, click the menu (≡) icon, select Edit > Program, and click Rename. Alternatively,
right-click a program in the Project panel and click Rename.
•
The Bounce to Sample function immediately renders all tracks that use that program (for the current sequence
only) as an audio sample and places it in the project’s sample pool. By default, it will be named Bounce - and
appended with the program name. This function does not work for MIDI programs or CV programs.
To bounce the program to a sample, click the menu (≡) icon, select Edit > Program, and click Bounce to
Sample. Alternatively, right-click the Program field in the inspector and click Bounce to sample.
•
The Bounce to Audio Track function immediately renders that program (for the current sequence only) as an
audio track in the project. The Main Mode will automatically switch to the Audio tab. By default, it will be named
Audio and appended with a number (e.g., Audio 002). This function does not work for MIDI programs or CV
programs.
To bounce the program to an audio track, click the menu (≡) icon, select Edit > Program, and click
Bounce to Audio Track. Alternatively, right-click the Program field in the inspector and click Bounce to
audio track.
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Automation
You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can do
this globally or for individual programs and audio tracks.
Global
In several modes, there is a button in the upper-right corner that controls the global automation. When you click this
button to change its state, it will change the automation state for all programs in the project.
This is available in Main Mode, Pad Mute Mode, the Pad Mixer, the Channel Mixer, and Q-Link Edit Mode.
Click the global automation button to cycle through its three states:
When off, automation data will be ignored. If you have already recorded or entered automation, clicking
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 clicking the button.
Important: If you have already recorded automation and turn it off, the track will still use the effect and
its parameter values at the point where you turned it off.
When set to Read (R), automation data will be read but recorded. You can still manually edit and enter
automation. (Think of this as a protective feature to prevent accidental changes to your automation
while recording.)
When set to Write (W), automation can be recorded and will overwrite any existing automation. (Make
sure not to touch the XY pad accidentally while you are recording.)
Programs & Audio Tracks
You can also set the automation for each program or audio track by using the program automation button in the
channel strip on the left side of the screen in Main Mode and the Channel Mixer. Program automation is available for
all program types except MIDI programs.
Note: Remember that clicking the global automation button will change the automation state for all programs in the
project; if they were originally different, all of them will then match the global automation state.
In Main Mode, if the channel strip is not already shown, click the small eye icon below the Project field to show it.
In the Channel Mixer, if you do not see a program automation button in the channel strip, make sure the Mixer field
is set to Audio Tracks or Programs.
Click the program automation button to cycle through its three states:
When off, the program will ignore automation data. If you have already recorded or entered
automation, clicking 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 clicking the button.
Important: If you have already recorded automation and turn it off, the track will still use the effect
and its parameter values at the point where you turned it off.
When set to Read (R), the program will read automation data but will not record any additional
automation over it. You can still manually edit and enter automation. (Think of this as a protective
feature to prevent accidental changes to your automation while recording.)
When set to Write (W), the program can record automation. (If you have any Q-Link knobs assigned
to automatable parameters, make sure not to touch any accidentally while you are recording.)
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16 Level
Press the 16 Level button on your MPC controller hardware to activate or
deactivate 16 Level.
When first activated, the selected pad (Pad A01 by default) will be
temporarily copied to all 16 pads. The pads will now output the same note
number as the initial pad, but a selectable parameter will be fixed at values
that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad
16 is the maximum), regardless of how hard you press them.
In the 16 Levels screen that appears, use the Type selector to choose the
parameter: Velocity, Tune, Filter, Layer, Attack, or Decay.
To select a pad, do one of the following (while the 16 Levels window is open):
•
Press and hold 16 Level, and then press the desired pad.
•
Click the 16 Levels checkbox to uncheck it (temporarily disabling the feature), press the desired pad, and
then click the 16 Levels checkbox again to check it.
•
Click the Pad field, and use the data dial or –/+ buttons.
•
Double-click the Pad field, and click the desired pad in the list that appears.
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Pad Color
Pad Color lets you assign specific colors to your pads in each program.
Important: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color
Mode first, and then select a track that uses the desired program in another mode.
Use the Display As field 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.
Off->Velocity: The pads will be unlit when you are not playing them. When you press them, they will light with their
assigned color with a brightness that corresponds with the velocity.
Dim->Velocity: The pads will be dimly lit when you are not playing them. When you press them, they will light with
their assigned color with a brightness that corresponds with the velocity.
Bright->Velocity: The pads will be brightly lit when you are not playing them. When you press them, they will light
with their assigned color with a brightness that corresponds with the velocity.
Use the Empty Pads field to set how empty pads will display:
Empty pads off: Pads without any sounds will remain off.
Empty pads dim: Pads without any sounds will remain more dimly lit than pads with sounds assigned.
Empty pads normal: Pads without any sounds will appear the same as pads with sounds assigned.
Use the Pads field to determine whether you are setting the color for a Single Pad or All Pads.
Tip: To quickly assign that color to all pads in the program, press and hold Shift while clicking a color button.
Use the color buttons to select which color you are assigning.
Tip: To select the color button corresponding a specific pad’s color, press and hold Shift, and then press the
pad or click it on the window.
Press a pad on your MPC controller hardware or click it on the window to assign the selected color to it.
To make the current pad color settings the defaults for all programs on the same type (e.g., drum programs,
keygroup programs, etc.), click Make Default.
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Audio Mixdown
The Audio Mixdown window lets you render and export either the current
sequence or song as an audio file. In Song Mode, this will export the
entire song. In any other mode, this will export the current sequence only.
To open the Audio Mixdown window, do one of the following:
•
Click the Menu icon (≡), and go to File > Export and click As
Audio Mixdown.
•
Press Ctrl+Shift+E (Windows) or +Shift+E (Mac OS X).
Audio Length
Use the Start Bar and End Bar fields to define where the resulting
audio file will start and end, respectively.
Use the Audio Tail field to add extra seconds to the end of the resulting
audio file. This is useful if you are using effects or samples whose
sounds exceed the defined audio length (e.g., long reverb or delay, oneshot samples with long decays, etc.). We recommend using an audio
tail of at least a couple of seconds.
Render Source
Check Stereo Output and use the adjacent field to select a pair of outputs (Out 1,2–7,8 in Standalone Mode, Out
1,2–31,32 in Controller Mode). The mixdown will be taken from these outputs.
Check Separate Programs to create a mixdown of each program used the sequence or song.
Check Explode Tracks to create a mixdown of each track used in the sequence (you cannot use this option for an
entire song).
Important: Each pad or keygroup must have their output routed to Program to be included in the mixdown. This
is the typical (and default) setting. See Pad Mixer > Routing to learn about this.
Render Options
If your Render Source is set to Stereo Output, check Master Inserts to include master insert effects in the mixdown.
If your Render Source is set to Separate Programs or Explode Tracks, check Export Returns to include return
buses in the mixdown.
If your Render Source is set to Stereo Output, click Save as Project Preview to save the sequence or song as a
project preview file (which you can play for reference in the Browser). If you check this box, Stereo Output will
automatically be checked, as well.
File Formats
Click WAV, AIFF, or MP3 to select the file format of the mixdown.
For WAV and AIFF files, use the Bit Depth field to select a bit depth
of 8, 16, or 24 bits, or 32 bits, floating point (32 F). For MP3 files, you
can select a Bitrate of 128, 160, 192, or 320 kbps.
Use the Sample Rate field to select a sample rate of 44.1 kHz, 48 kHz,
88.2 kHz, or 96 kHz. In most cases, we recommend selecting 44.1 kHz.
Click Export to enter the Save screen where you can select a name
and location to save your audio mixdown.
Click Cancel to return to the previous screen.
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Modes
The mode icons in the toolbar let you select any one of 20 modes. This chapter describes the various features and
functions of each one.
To open the Menu, press Menu, or click the icon in the upper-left corner of the window while on the normal page of
your current mode.
When viewing the Menu, do one of the following:
To enter a mode, click it.
Important: If a sequence is currently playing, you will not be able to enter Song Mode. Stop playback before
entering Song Mode.
To return to the previous mode, click the grey area in the upper-left corner, or press Menu again.
Click a button below to skip directly to that chapter.
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Main Mode
Main Mode gives you an overview of the most-used functions.
To enter Main Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Main.
•
Click the house icon in the toolbar (if shown).
•
Press Ctrl+1 (Windows) or +1 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Main Mode.
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Track View
Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences
simultaneously.
To enter the Track View, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Track View.
•
Click the bars-and-magnifying-glass icon in the toolbar (if shown).
•
Press Ctrl+2 (Windows) or +2 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Track View.
Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together.
MIDI tracks are listed first, audio tracks are listed second.
To move through the list of tracks, scroll up or down.
To expand or collapse each group of tracks, click the > or ∨ above the first track of each type.
To show or hide each group of tracks, click Menu icon (≡) in the upper-right corner of the editor.
All MIDI tracks in the project are grouped together in the upper half of the Track View.
Use the Program field to select the program that the track will use.
Use the S and M buttons to solo or mute the track (respectively).
All audio tracks in the project are grouped together in the lower half of the Track View.
Use the S and M buttons to solo or mute the track (respectively).
Use the Arm button to record-enable the track. When you begin audio recording, the audio signal will be recorded to
this track. You can select multiple tracks by pressing and holding Shift while clicking the Arm button to each track.
Use the Monitor button to set how your audio track will be monitored. Clicking it will cycle through its three states:
When set to Auto, you will hear incoming audio while the track is record-enabled only.
When on, you will hear incoming audio whether or not the track is record-enabled.
When off, you will never hear any incoming audio.
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Program Edit Mode
Program Edit Mode contains all parameters for editing your Programs.
For drum programs, this mode includes the parameters of four layers as well as all synthesis parameters and insert
effect settings. See the Drum Programs section to learn more.
For keygroup programs, this mode contains slightly more parameters than drum programs. See the Keygroup
Programs section to learn more.
For clip programs, this mode looks very different from that of other programs due to how clip launching works. See
the Clip Programs section to learn more.
For MIDI programs and CV programs, skip to MIDI Programs and CV Programs to learn more.
For more general information on the differences between the types of programs, please see General Features >
Programs.
To enter Program Edit Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Program Edit.
•
Click the four-pads icon in the toolbar (if shown).
•
Press Ctrl+3 (Windows) or +3 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Program Edit.
Drum Programs
When using drum programs, 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, click the Master, Samples, Pan Velocity, Filter Env, LFO Modulation, or
Effects button at the bottom of the window. You can click the Samples button multiple times to cycle through its
four available sections.
Master
In the Master tab, you can set the playback mode and tuning for the overall Program.
Polyphony sets the playback mode for the program’s pads. In Mono Mode, only one pad will sound at a time. If a
pad is played while another (or the same one) is still playing its sample/samples, the new pad will immediately mute
all other currently playing pads in that program. In Poly Mode, several pads can be triggered at the same time
(limited only by the total number of voices available).
Semi lets you transpose the program up to 36 semitones up or down.
Fine provides fine-tuning of the program by fractions of a semitone up or down.
Volume controls the overall volume level of the loaded sample/samples.
Pan controls the overall panning of the loaded sample/samples in the stereo field.
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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 (in the same program) 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.
Tips:
This feature is useful for programming realistic hi-hats, especially if only the open or closed hat should be heard.
This feature is similar to the mute group feature, available for both drum programs and keygroup programs.
Samples
Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical,
independently assignable parameters.
Click Samples to cycle through its four available sections.
To turn Loop Lock on or off, click the Loop Lock button. When on, the loop position is the same as the pad start
(as determined in the third and fourth Samples tabs). When off, the loop position is independent from the pad start.
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.
Semi lets you transpose the selected layer 36 up to semitones up or down.
Fine provides fine-tuning of each layer by fractions of a semitone.
Level lets you adjust the each layer’s volume, letting you control the “balance” of the samples assigned to the pad.
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. In Program Edit Mode, you’ll see that the pad/layer to which it’s
assigned has its Slice drop-down menu set to the corresponding slice number in the original sample. Playing that
pad will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely new sample of that
slice. This means that you no longer have to clutter your Project with a new sample for every slice (though you can
still use this earlier method, if you prefer).
A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference is
that in Program Edit Mode, the pads/layers they’re assigned to have their Slice drop-down menus set to Pad
(instead of the slice number), and the Pad Start and Pad End points will correspond to the slice markers in the
original sample.
Use the Slice field to select what part/parts 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. 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.
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Use the Direction selector to select in which direction the sample will play:
Fwd: The sample will play in the normal forward direction.
Rev: The sample will play in reverse.
Use the Offset slider to determine a time offset for the sample’s playback.
Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the
sample specified by the offset value.
Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the
offset value.
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 minimum
value is the Pad Start value, and the maximum value is the sample’s total length (in samples).
Use the Pad Loop button to cycle through the available Pad Loop modes.
Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set
the Slice field to Pad instead of All or a slice number.
Off: The sample will not loop.
Forward: You can hold down the pad to cause that sample to repeat from the Loop Position to the end of the
sample. Release the pad to stop the repeating playback.
Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the
sample to the Loop Position. Release the pad to stop the repeating playback.
Alternating: You can hold down the pad to cause that sample to play from the Loop Position to the end of the
sample and then play in reverse until it reaches the Loop Position again. This will repeat as long as you are
holding the pad down. Release the pad to stop the repeating playback.
Use the Loop Position slider to determine the position (in samples) where the pad’s playback will repeat when Pad
Loop is activated.
Note: When Loop Lock is on, the loop position is the same as the pad start (as determined in the third Samples
tab). When off, the loop position is independent from the pad start.
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Pan Velocity
Use the pan knob to adjust the stereo placement of the respective layer.
Use the Vel Start and Vel End knobs to define the velocity range of each layer. 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. By assigning several
samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of
each layer accordingly.
For example, you may have three samples of a drum hit with low force, medium force, and high force. You can set
each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only midrange velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.
Filter Envelope
Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the
available filter types.
Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for
band-pass and band-stop filter types.
Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point.
Tip: Use values lower than 80 to give more brilliance to the sound. At values higher than 80, the sound will result in a
strong audible boost around the cutoff frequency.
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. This will start a sound with the filter opened and close it shortly
afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much
more “alive” with low Env settings and a high Atk value, resulting in a slight fade-in of the higher frequencies.
Use the Modulation Sources knobs to set how much velocity is required to modulate certain other parameters:
Vel>Sta (VelocityStart) sets how much velocity is needed (for a triggered pad) to modulate the sample startpoint.
Vel>Atk (VelocityAttack) sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for
the Amp envelope.
Vel>Env (VelocityEnvelope) enables velocity information to control the amount of the filter envelope’s effect on
the cutoff frequency.
Vel>Flt (VelocityFilter) uses the velocity of a pad to modulate the cutoff frequency directly.
The Filter Envelope controls affect the filter frequency. Use the fields or click and drag the “handles” of the envelope
to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with
the Env knob. See the later Anatomy of an Envelope section to learn about the envelope parameters.
The Amp Envelope controls affect level changes over time. Use the fields or click and drag the “handles” of the
envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter
frequency with the Env knob. See the later Anatomy of an Envelope section to learn about the envelope
parameters.
79
LFO Modulation
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. A mute group
affects pads within that program only; mute groups do not affect pads in other programs.
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 of its layer’s samples at random.
Use the Sample Play selector to determine how much of the sample is played.
One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.
Note On: The sample will play only as long as the pad is held. This is better for longer samples so you can control
a sound’s duration by pressing and holding its corresponding pad.
Use the Pad Polyphony field to determine how the pad’s sound behaves when multiple hits are registered. When set
to Mono, only one pad will sound at a time. If a pad is played while another (or the same one) is still playing its
sample/samples, the new pad will immediately mute all other currently playing pads in that program. When set to
Poly, several pads can be triggered at the same time (limited only by the total number of voices available). You can
also select a specific number of pads (2–32) so that you can trigger up to this many pads at the same time (unless
they exceed the total number of voices available).
The Velocity Sensitivity controls determine how much the velocity affects the pitch of the sound (Pitch), the attack of
the filter envelope (Attack), the volume level of the filter envelope (Amp) and or the panning of the sound (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.
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can
be used for modulation purposes.
Use the Wave field to select the LFO waveform type:
Sine (best suited for smooth modulations)
Triangle (best suited for smooth modulations)
S&H (samples a random value and holds it until the next value is generated)
Saw (can generate interesting filter or volume changes)
Saw Down (can generate interesting filter or volume changes)
Square (interesting results with hard-panning modulations)
Noise (generates random values and glides)
Use the Rate field to determine the LFO frequency when Sync is on. At lower values, it might take some time for the
LFO to complete a cycle, while higher values will come closer to audible range.
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Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time
divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.
Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff
frequency of the filter (Filter), the volume level of the sound (Amp) and panning of the sound (Pan).
Keygroup Programs
When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup.
To select a keygroup, press a pad within that keygroup. Its parameters will appear on the screen immediately.
Number of KG (keygroups) lets you create up to 128 keygroups within a keygroup program. This is 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 four possible velocity
layers).
Click the Keygroup field to select a keygroup to edit. You can also select All to edit all keygroups simultaneously.
Click the piano-keys icon to edit the note range of the current keygroup. This will open the Set Keygroup Note
Range window. This lets you restrict the key range used for a sample’s playback. Only notes with a key number
higher or equal (Low Key) or lower and equal (High Key) to the selected value will trigger a sound.
Tips:
Alternatively, you can set the current keygroup’s note range by using the Lo and Hi fields under Note Range in the
Master tab.
Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.
Master
In the Master tab, you can set the playback mode and tuning for the overall program.
Polyphony sets the playback mode for the program’s keygroups. In Mono Mode, only one keygroup will sound at a
time. If a keygroup is played while another (or the same one) is still playing its sample/samples, the new keygroup will
immediately mute all other currently playing keygroups in that program. In Poly Mode, several keygroups can be
triggered at the same time (limited only by the total number of voices available).
Semi lets you tune the program up to 36 semitones up or down.
Fine provides fine-tuning of the program by fractions of a semitone up or down.
Transpose shifts the pitch of sample up to 36 semitones up or down. This function is identical to the Semi knob; it
does not affect the transposition of any connected MIDI controller hardware.
KG Select (Keygroup Select) lets you select a specific keygroup for editing. This parameter works in conjunction with
the Number of KG (keygroups) parameter at the top of the window, which lets you create up to 128 keygroups
within one keygroup program. A default keygroup program contains only one single keygroup. When you have
created more than one keygroup with Number of KG, use KG Select to select any keygroup for editing. All selects
all available keygroups of a keygroup program for simultaneous editing.
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Key Track allows you to switch a sample’s automatic transposition on or off. If this is off, you will always hear the
same pitch of the sample, no matter which note is triggered by pads or a connected MIDI keyboard.
Level controls the overall volume level of the loaded sample/samples.
Pan controls the overall panning of the loaded sample/samples in the stereo field.
Note Range lets you restrict the key range used for a sample’s playback. Only notes with a key number higher or
equal (Lo) or lower and equal (Hi) to the selected value will trigger a sound. The settings for Lo and Hi are also shown
in the virtual keyboard in the Edit Layers section. Alternatively, click the piano-keys icon to open the Set Keygroup
Note Range window.
Tip: Set the Lo parameter to A0 and the Hi parameter to C8 to emulate the range of a standard 88-key piano.
Semi lets you transpose the sample 36 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).
Use the KG Polyphony (keygroup polyphony) field to determine how the keygroup will play. When set to Mono, only
one pad will sound at a time. If a pad is played while another (or the same one) is still playing its sample/samples, the
new pad will immediately mute all other currently playing pads in that program. When set to Poly, several pads can
be triggered at the same time, limited only by the total number of voices available. You can also select a specific
number of pads (2–32) so that you can play up to this many pads at the same time (unless they exceed the total
number of voices available).
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. A mute group
affects pads within that program only; mute groups do not affect pads in other programs.
Layer Play determines how multiple samples assigned to the same pad are played:
•
Cycle (Cyc): Each time the pad is played, it will play the next layer’s sample. In other words, the samples will
cycle through the layers as follows: 1, 2, 3, 4, 1, 2, 3, 4… etc.
•
Velocity (Vel): The pad will switch between layers depending on how hard you press a pad.
•
Random (Ran): Each time the pad is played, it will play one of its layer’s samples at random.
Sample Play determines how much of the sample is played:
•
One Shot: The entire sample will play from start to end. Use this when you want to play short sounds.
•
Note On: The sample will play only as long as the pad is held. This is better for longer samples so you can
control a sound’s duration by pressing and holding its corresponding pad.
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Samples
Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical,
independently assignable parameters.
Click the Samples button to cycle through its four available sections.
To turn Loop Lock on or off, click the Loop Lock button. When on, the loop position is the same as the pad start
(as determined in the third and fourth Samples tabs). When off, the loop position is independent from the pad start.
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.
Semi lets you tune the selected layer 36 up to semitones up or down.
Fine provides fine-tuning of each layer by fractions of a semitone.
Level lets you adjust the each layer’s volume, letting you control the “balance” of the samples assigned to the
keygroup.
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 (keygroup) 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. In Program Edit Mode, you’ll see that the
pad/layer to which it’s assigned has its Slice drop-down menu set to the corresponding slice number in the original
sample. Playing that pad will cause it to refer to that slice marker like a “bookmark” instead of creating an entirely
new sample of that slice. This means that you no longer have to clutter your Project with a new sample for every slice
(though you can still use this earlier method, if you prefer).
A slice converted using Pad Parameters is very similar to a non-destructive slice described above. The difference is
that in Program Edit Mode, the pads/layers they’re assigned to have their Slice drop-down menus set to Pad
(instead of the slice number), and the Pad Start and Pad End points will correspond to the slice markers in the
original sample.
Use the Slice field to select what part/parts 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. 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.
Use the Direction selector to select in which direction the sample will play:
Fwd: The sample will play in the normal forward direction.
Rev: The sample will play in reverse.
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Use the Offset slider to determine a time offset for the sample’s playback.
Positive values (right of center): When the pad is played, playback will start immediately but at a later point in the
sample specified by the offset value.
Negative values (left of center): When the pad is played, playback will be delayed by the amount specified by the
offset value.
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 minimum
value is the Pad Start value, and the maximum value is the sample’s total length (in samples).
Use the Pad Loop button to cycle through the available Pad Loop modes.
Important: For Pad Loop to work, you must (1) set the Sample Play field to Note On instead of One Shot and (2) set
the Slice field to Pad instead of All or a slice number.
Off: The sample will not loop.
Forward: You can hold down the pad to cause that sample to repeat from the Loop Position to the end of the
sample. Release the pad to stop the repeating playback.
Reverse: You can hold down the pad to cause that sample to play in reverse, repeating from the end of the
sample to the Loop Position. Release the pad to stop the repeating playback.
Alternating: You can hold down the pad to cause that sample to play from the Loop Position to the end of the
sample and then play in reverse until it reaches the Loop Position again. This will repeat as long as you are
holding the pad down. Release the pad to stop the repeating playback.
Use the Loop Position slider to determine the position (in samples) where the pad’s playback will repeat when Pad
Loop is activated.
Note: When Loop Lock is on, the loop position is the same as the pad start (as determined in the third Samples
tab). When off, the loop position is independent from the pad start.
Pan Velocity
Use the Pan knob to adjust the stereo placement of the respective layer.
Use the Vel Start and Vel End knobs to define the velocity range of each layer. 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 respective pad while,
for example, a range from 100 to 127 lets the layer respond only to higher velocity levels. By assigning several
samples of one instrument, you can create a realistic-sounding “multi-sample” by adjusting the velocity ranges of
each layer accordingly.
For example, you may have three samples of a piano key with low force, medium force, and high force. You can set
each sample to a layer and set the Velocity ranges so only low velocities trigger the low-force sample, only midrange velocities trigger the medium-force sample, and only high velocities trigger the high-force sample.
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Filter Envelope
Use the Type field to select a filter for the selected pad. See Appendix > Glossary > Filter for an explanation of the
available filter types.
Use the Cutoff knob to set the cutoff frequency for low-pass and high-pass filter types or the center frequency for
band-pass and band-stop filter types.
Use the Reso knob to set the resonance/emphasis of the frequencies around the cutoff point.
Tip: Use values lower than 80 to give more brilliance to the sound. At values higher than 80, the sound will result in a
strong audible boost around the cutoff frequency.
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. This will start a sound with the filter opened and close it shortly
afterward, giving it a bright start followed by a darker sustain. String sounds, on the other hand, can sound much
more “alive” with low Env settings and a high Atk value, resulting in a slight fade-in of the higher frequencies.
Use the Modulation Sources knobs to set how much velocity is required to modulate certain other parameters:
Kbd>Flt (KeyboardFilter) sets how much aftertouch data (from a pad) is needed to modulate the cutoff
frequency.
Vel>Atk (VelocityAttack) sets how much velocity is needed (for a triggered pad) to modulate the Attack phase for
the Amp envelope.
Vel>Env (VelocityEnvelope) enables velocity information to control the amount of the filter envelope’s effect on
the cutoff frequency.
Vel>Flt (VelocityFilter) uses the velocity of a pad to modulate the cutoff frequency directly.
The Filter Envelope controls affect the filter frequency. Use the fields or click and drag the “handles” of the envelope
to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with
the Env knob. See Anatomy of an Envelope to learn about the envelope parameters.
The Amp Envelope controls affect level changes over time. Use the fields or click and drag the “handles” of the
envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter
frequency with the Env knob. See Anatomy of an Envelope to learn about the envelope parameters.
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LFO Modulation
The Velocity Sensitivity controls determine how much the velocity affects the pitch of the sound (Pitch), the attack of
the filter envelope (Attack), the volume level of the sound (Amp), and the panning of the sound (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.
A low-frequency oscillator (LFO) generates a periodic waveform with an adjustable frequency and shape which can
be used for modulation purposes.
Use the Wave field to select the LFO waveform type:
Sine (best suited for smooth modulations)
Triangle (best suited for smooth modulations)
S&H (samples a random value and holds it until the next value is generated)
Saw (can generate interesting filter or volume changes)
Saw Down (can generate interesting filter or volume changes)
Square (interesting results with hard-panning modulations)
Noise (generates random values and glides)
Use the Rate field to determine the LFO frequency when Sync is on. At lower values, it might take some time for the
LFO to complete a cycle, while higher values will come closer to audible range.
Use the Sync field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time
divisions (a . indicates a dotted note; a T indicates a triplet-based time division). When None is selected, Sync is off.
Use the Destinations sliders to determine how much the LFO affects the pitch of the sound (Pitch), the cutoff
frequency of the filter (Filter), the volume level of the sound (Amp) and the panning of the sound (Pan).
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.
Wheel>LFO determines how much a connected MIDI keyboard’s modulation wheel affects the LFO intensity.
Aft>Filt (AftertouchFilter Cutoff) determines how much a connected MIDI keyboard’s aftertouch data affects the
filter cutoff.
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Clip Programs
When using clip programs, Program Edit Mode lets you assign a sample (a loop called a clip) to each pad in a single
bank. You can also edit various settings to determine how each pad launches its assigned clip.
To select a pad, press it. Its parameters will appear on the screen immediately.
To view a specific tab of parameters, click Program or Pad the bottom of the window. The Program tab is
where you assign clips to pads (see Program below). The Pad tab is where you determine how each pad plays its
clip (see Pad below).
Program
This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization.
To assign a sample to a pad, press or click a pad to select it (it will play its assigned samples, if any). Click the
Sample field, and then use the data dial or –/+ buttons to select a clip. Alternatively, double-click the Sample field
for a layer, and then click a clip to select it.
To clear the assigned clip from a selected pad, assign a sample to a pad, but select None.
Coarse lets you transpose the program up to 36 semitones up or down.
Fine provides fine-tuning of the program by fractions of a semitone up or down.
Use the Launch Quantize field to set the quantization of the program in bars (or subdivisions of a bar).
Pad
The upper half of the window shows the clip waveform. The lower half shows the editing controls.
The waveform display shows the “active” section of the clip waveform. Scroll left or right on the waveform to move
through it.
Above the waveform is the timeline, shown in bars, beats, and ticks.
The green marker and red marker are the start point and end point (respectively). These two points define the region
of the sample that will be played.
To move the start point or end point of the selected region, do either of the following:
•
Click 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. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides
fine adjustment.
Use the Zoom + or Zoom – buttons at the bottom of the window to zoom in or out (respectively) of the waveform.
Click Warp to lengthen or shorten the clip without changing its pitch, and use the BPM field to change the tempo.
Use the Coarse and Fine sliders if you want to change the pitch.
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Use the Pad Play field to determine the clip is played.
One Shot: When you press the pad, the entire clip will play from start to end and then stop.
Toggle: When you press the pad, the entire clip will play from start to end and loop indefinitely. Pressing it again—
or launching another in the same mute group—will stop its playback. This is the most common usage.
Use the Pad Quantize field to set the quantization of the pad in bars (or subdivisions of a bar). When set to Program
so it uses the same quantization as the overall program (determined by the Launch Quantize field). When set to Off,
the pad will not follow any quantization at all.
Click Reverse to reverse the clip’s audio.
Coarse lets you transpose the pad up to 36 semitones up or down.
Fine provides fine-tuning of the pad by fractions of a semitone up or down.
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. A mute group
affects pads within that program only; mute groups do not affect pads in other programs.
By default, each column of pads is assigned to the same mute group. This means only one pad from each column
can be playing its clip at a time. You can use the Mute Group field to configure this any way you like, though.
Use the Fade button to apply a very small fade-in and fade-out at the start and end of the clip. This can help prevent
“clicks” and glitches that may occur if the start point or end point is not placed at the waveform’s “zero-crossings.”
MIDI Programs
For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each.
Use the sliders to set the value of each parameter.
Use the six tabs at the bottom of the window to access the available parameters.
CV Programs
For CV programs, you will see an overview of all available CV outputs with a slider for each. Although this option is
selectable, it is usable only with MPC controller hardware that has CV outputs (e.g., MPC X).
The automation button indicates the global automation state. This is shown in several modes. See General Features
> Automation to learn about this.
Use the sliders to set the value of each parameter.
Use the six tabs at the bottom of the window to access the available parameters.
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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), the sample volume rises to its maximum value.
2. The sample’s maximum volume will be maintained during the Hold phase.
3. During the Decay phase, the sample’s volume will gradually drop to the sustain level.
4. The sample’s volume will stay at the sustain level (Sust) until the pad is released.
With AD envelopes, the following happens when you trigger a sample:
1. Within the period of time you have defined with the attack (Atk), 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.
Decay From End: The maximum volume will be maintained for a hold phase until it reaches the decay phase.
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Sample Edit Mode
Sample Edit Mode lets you edit samples using various functions.
To enter Sample Edit Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Sample Edit.
•
Click the waveform-and-flags icon in the toolbar (if shown).
•
Press Ctrl+4 (Windows) or +4 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Sample Edit.
To select a sample to edit, select it in the Project panel.
The upper half of the window shows the waveform. The lower half shows the editing controls. See Editors > Wave
Editor to learn about this.
The waveform display shows the “active” section of the sample waveform. Scroll left or right on the waveform to
move through it.
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:
•
Click and drag its marker left or right.
•
Use the Start or End fields in the Parameters panel.
•
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. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides
fine adjustment.
Tip: A recorded sample may have some silence at the beginning or end, which makes it difficult to time it correctly in
a musical context. Fix this by adjusting the start point. You can also adjust end point to remove any extra silence or
unwanted audio at the end. In addition to making your workflow easier, having a “tight,” well-edited sample can
enhance your production or performance.
You can use Sample Edit Mode in three different ways: Trim Mode, Chop Mode, or Program Mode. The options for
each mode are slightly different. Please refer to the following Trim Mode, Chop Mode, and Program Mode parts of
this chapter to learn how each works.
Tip: You can use Trim Mode for a specific slice of the sample, previously created and selected in Chop Mode. This
allows for a more detailed view of a single slice than in Chop Mode and gives you more options for auditioning the
slice. You can easily switch between Trim Mode and Chop Mode while doing this.
To use both Trim Mode and Chop Mode to edit a sample slice:
1. Click Chop in the QLinks panel.
2. Set all fields as desired to create your sample slices.
3. Select the desired slice.
4. Click Trim in the QLinks panel. The region you are now editing is indicated by the normal start point and end point
markers rather than slice markers.
5. Click Chop at any time to return to Chop Mode.
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Trim Mode
We recommend using Trim Mode to simply crop the end/ends from a sample.
To enter Trim Mode, click the Trim/Chop button in the lower-left corner so it says Trim.
Use the Start and End fields to set the position of the start point and end point of the sample (respectively). Alternatively,
click 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 one of the following:
•
Use the Loop field.
•
Click and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).
•
Use the first bank of Q-Link knobs (if Loop Lock is on) or the third bank Q-Link knobs (if Loop Lock is off).
The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
To turn Loop Lock on or off, click the Lock button. When on, the loop point is the same as the start point. When
off, the loop point is independent from the start point and indicated by a separate loop marker.
To turn the loop function on or off, click 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. When it reaches the loop point again, it will
start playing forward again from the loop point.
To switch between Forward and off, press and hold Shift, and then click Loop at the bottom of the window.
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Use the MPC Live pads to play certain parts of the selected sample:
Play Loop
13
Play to Loop
Start
14
Play from
Loop Start
15
16
Play Sample
Play Sample
(One Shot)
(Note On)
Play All
09
Play Loop
Continuous
No function
10
11
12
Play from
Start
Play to
Start
Play to
End
Play from
End
(Note On)
(Note On)
(Note On)
(Note On)
05
06
07
08
Play from
Start
Play to
Start
Play to
End
Play from
End
(One Shot)
(One Shot)
(One Shot)
(One Shot)
01
02
03
04
Play Sample (One Shot) (Pad 10) plays the sample once from the start point to the end point. Press the pad once
to play it.
Play Sample (Note On) (Pad 11) plays the sample once from the start point to the end point. Press and hold the
pad to play it, and release the pad to stop playing it. Alternatively, select the headphones icon in the upper-right
corner, and then click and hold your finger on the waveform.
Play Loop Continuous (Pad 16) plays the sample repeatedly from the loop point to the end point.
Play Loop (Pad 13) plays the sample from the loop point to the end point. Press and hold the pad to play it, and
release the pad to stop playing it.
Play to Loop Start (Pad 14) plays the part of the sample just before the loop point. Press and hold the pad to play
it, and release the pad to stop playing it.
Play from Loop Start (Pad 15) plays the sample from the loop point to the end of the sample regardless of the
end point. Press and hold the pad to play it, and release the pad to stop playing it.
Play All (Pad 9) plays the entire sample.
Pads 1–4 have the same respective functions as Pads 5–8, but Pads 1–4 play the sample part as “One Shots”
(pressing the pad once will play the entire part) while Pads 5–8 play the sample part as “Note Ons” (pressing the pad
and holding it will play the part; releasing it will stop playback):
Play from Start (Pad 1, Pad 5) plays the sample from the start point to the end point.
Play to Start (Pad 2, Pad 6) plays the part of the sample just before the start point to the start point.
Play to End (Pad 3, Pad 7) plays the part of the sample just before the end point to the end point.
Play from End (Pad 4, Pad 8) plays the part of the sample from the end point to the end of the sample.
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Use the Tune field to transpose the sample up or down from its original pitch.
Click From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence.
Use the Beats field to match the number of beats in the sequence.
To tune the sample to the sequence, click 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, click To Sequence. This is the same
as clicking Match but it also changes the sequence’s tempo to the BPM shown in the Tempo field on the right.
To close the window, click Close.
To enter a tempo manually, use the BPM field.
To detect the tempo automatically, click Detect. In the Edit BPM window that appears, you can do any one of the
following:
•
Use the BPM field to enter a tempo manually.
•
Click Detect to detect the tempo automatically.
•
Click Tap Tempo at the bottom of the window at the desired rate to use it as the tempo. You can play a
sequence in the background to help with your timing.
•
Click Close, the X, or anywhere outside the window to close it.
Use the Root Nt field to set the root note of the sample. This defines which note will play the sample at its original
pitch when in a keygroup program.
To select a slice to edit, do either of the following (after you have created slices in Chop Mode):
•
Use the Slice field.
•
Turn the top-most Q-Link knob in the fourth bank.
When Link Slices is enabled (after you have created slices in Chop Mode), 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, click the Link Slices button.
Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.
0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can
help to avoid clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then click 0 Snap at the bottom of the window.
To enable or disable the loop function, press and hold Shift, and then click Loop at the bottom of the window.
This switches the loop function between Forward and off.
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Assigning Samples
You can assign your new sample directly to a pad from Trim Mode.
To assign a sample, click Assign.
Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of
creating a new sample. This is useful for reducing clutter in your project.
Use the Pad field to select the desired pad. Alternatively, press the desired pad.
Use the Slice Type field to select how the pad’s layer settings will be set when the slice is assigned to it:
Non-Destructive Slice: The pad’s Slice setting will be set to the slice number.
Pad Parameters: The pad’s Slice setting will be set to Pad. The Pad Start and Pad End will be set to the
slice’s start point and end point values, and the Loop Position will be set to the slice’s start point but with
Pad Loop deactivated.
Use the Program field to specify the program to which you want to add the slice.
To assign the sample, click Do It.
To cancel the operation, click Close, the X, or anywhere outside the window.
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. This way,
you will still be able to edit the entire sample further even though you are using only part of it at the moment.
Use the Program field to specify the program to which you want to add the slice.
To assign the sample, click Do It.
To cancel the operation, click Close, the X, or anywhere outside the window.
94
Processing Slices & Samples
Use the Function buttons to select an editing process.
You can use any of these functions as described below.
Note: All Slice processes will affect only the part of the sample between the start point and the end point. The Sample
processes (Bit Reduce and Stereo -> Mono) will affect the entire sample regardless of its start point or end point.
The Discard process deletes the regions before the start point and after the end point.
The Delete process deletes the region between the start point and end point and closes the gap between them.
The Silence process replaces the region between the start point and end point with silence.
The Extract process deletes the regions before the start point and after the end point and saves it as a new sample
in your current project.
Use the Edit Name field to name the new sample.
Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to
use separately in the project.
The Normalize process increases a sample’s level to the highest level possible without distortion. 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.
The Reverse process reverses the region between the start point and end point.
The Fade In process sets a fade-in between the start point and end point. The following types are available:
Linear fades the audio in with a linear curve—a straight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the
end.
The Fade Out 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.
The Pitch Shift 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.
95
The Time Stretch process lengthens or shortens the sample without changing its pitch. This is useful for matching
the durations of two samples with different pitches. You can enter the original tempo of the sample and the desired
tempo after processing.
Use the Beat field to set the desired value number of beats.
Use the New Tempo field to set the new tempo. The Ratio field will then automatically show the time stretch
factor.
Alternatively, to adjust the ratio instead, use the Ratio field to set the desired ratio. The New Tempo field will then
change automatically based on the new time stretch factor.
The Gain Change process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired
effect, but remember to watch your output level!
The Copy process saves a copy of the sample.
Use the Edit Name field to name the new sample. Otherwise, the process will add a consecutive number after the
sample name.
The Bit Reduce process lowers the bit resolution of a sample, effectively reducing its degree of faithful reproduction.
You can reduce it down to 1 bit. (The sound is similar to the Resampler effect, but Bit Reduce will permanently alter
the sample.)
Tip: Use this on drum loops to get a dirty, “old-school” sizzle but with a digital “edge.”
Note: This process affects the entire sample regardless of its start point or end point.
The Stereo -> Mono process converts a stereo sample to a new mono sample and saves it as a new sample.
Use the Edit Name field to name the new sample. Otherwise, the process will add a consecutive number after the
sample name.
The following options are available:
•
Left will convert the left channel only.
•
Right will convert the right channel only.
•
Sum will combine the left and right audio channels to a single mono channel.
Note: This process affects the entire sample regardless of its start point or end point.
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Chop Mode
Whereas Trim Mode crops only the end/ends 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, click the Chop in the QLinks panel.
Use the Start and End fields to set the position of the start point and end point (respectively) of the currently
selected slice. Alternatively, click 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.
Use the Chop To menu 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.
Use the Min Time field to set the minimum length of a slice in milliseconds.
Regions
This method divides a sample into several slices of equal length.
Use the Regions field to set how many regions the sample will be divided into. Alternatively, turn the second QLink knob in the third bank. The higher the selected value, the more slices will be created.
BPM
This method divides a sample into several slices based on the tempo (beats per minute).
Use the Bars field to set how many bars are in the sample. Alternatively, turn the second Q-Link knob in the third bank.
Use the Beats field to set how many beats are in each bar. Alternatively, turn the third Q-Link knob in the third bank.
Use the Time Div field to set a note division. Alternatively, turn the bottom-most Q-Link knob in the third bank.
The slice markers will be placed according to this setting. You can select 1/4, 1/8, 1/16, or 1/32. (In most cases,
you should set this parameter to 1/16.)
97
To play a slice, press the pad that corresponds to the slice. If your sample has more than 16 slices, use the
additional pad banks.
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.
To select a slice to edit, do either of the following:
•
Use the Slice field.
•
Turn the top-most Q-Link knob in the fourth bank.
To add a slice at the current playhead position, click Slice+ at the bottom of the window. You can do this at any
point during sample playback.
To insert a slice marker during sample playback, press an unlit pad (usually Pad 1) to start playback of the
sample, and then press an unlit pad during playback to place a slice marker at each location of the playhead. (If you
press a lit pad, playback will restart from that pad’s corresponding slice marker.) The number of the pad that is lit
green is the number of the most-recently inserted slice marker. The numbers of the pads that are lit yellow are the
numbers of the slice markers that are already inserted.
To split or combine slices, click the glue-and-scissors icon. In the Split/Combine Region screen that appears,
click one of the following buttons:
Split: This splits the currently selected region into two equal slices.
Combine: This combines the currently selected region with the one before it.
Back: This closes the window.
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, click the Link Slices button.
Important: Link Slices must be disabled to make slices nonsequential, noncontiguous, or overlapping.
To remove all slices from a sample, press and hold Shift and click Clear All.
The cue playhead is useful when manually inserting slice markers. You can set its position and behavior to suit your
workflow.
Use the Cue field to adjust the position of the cue playhead. Alternatively, click and drag the translucent marker with
the triangle ().
To play the sample from the cue playhead, click Play Cue at the bottom of the window.
To create a slice marker at the cue playhead position, click Slice+ at the bottom of the window.
0 Snap forces start points and end points to occur only at the waveform’s “zero-crossings.” This can help to avoid
clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then click 0 Snap at the bottom of the window.
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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, use the Non-Destructive Convert and Extract New Samples buttons.
If you set the Convert To field to New [program type] program using slices, this will create a new program and
assign the sample’s slices to its pads. The pads will simply refer to the slices in this sample instead of creating new
samples. This is useful for reducing clutter in your project. The new program will be named after the sample and
appended with ch.
Use the Slice Type field to select how each pad’s layer settings will be set when the slices are assigned to them
(see Program Edit Mode to learn more about the parameters mentioned below):
•
Non-Destructive Slice: Each pad’s Slice setting will be set to the slice number.
•
Pad Parameters: Each pad’s Slice setting will be set to Pad. The Pad Start and Pad End parameters will
be set to the slice’s start point and end point values, and the Loop Pos parameter will be set to the slice’s
start point but with Pad Loop deactivated.
Check the Create Events box to automatically create a new track for the new program in which each pad plays its
corresponding slice in ascending sequence by pad number.
If Create Events is checked, use the Bars field to set how many bars the slices’ events will occupy.
To convert the sample, click Do It.
To cancel the operation, click Close.
If you set the Convert To field to New clip program, this will create a new clip program and assign the sample’s
slices to its pads as clips. The pads will simply refer to the slices in this sample instead of creating new samples. This
is useful for reducing clutter in your project. The new program will be named after the sample and appended with ch.
Use the Tempo field to enter the tempo of the clips in the new program.
Check the Create Events box to automatically create a new track for the new program in which each pad plays its
corresponding slice in ascending sequence by pad number.
If Create Events is checked, use the Bars field to set how many bars the slices’ events will occupy.
To convert the sample, click Do It.
To cancel the operation, click Close.
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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 are 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 samples when they’re created and assigned. This way,
you will still be able to edit the entire samples further even though you are using only part of them at the moment.
By default, this option already will create a new program. You can uncheck the Create New Program box to
convert each slice into a sample that is placed in the project’s sample pool but not assigned to a program or pad.
If Create New Program is checked, check the Create Events box to automatically create a new track in which each
pad plays its corresponding slice in ascending sequence by pad number.
If Create Events is checked, use the Bars field to set how many bars the slices’ events will occupy.
To convert the sample, click Do It.
To cancel the operation, click Close.
If you set the Convert To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of
creating a new sample. This is useful for reducing clutter in your project.
Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
Use the Pad field to select the desired pad. Alternatively, press the desired pad.
Use the Slice Type field to select how the pad’s layer settings will be set when the slice is assigned to it (see
Program Edit Mode to learn more about the parameters mentioned below):
•
Non-Destructive Slice: The pad’s Slice setting will be set to the slice number.
•
Pad Parameters: The pad’s Slice setting will be set to Pad. The Pad Start and Pad End will be set to the
slice’s start point and end point values, and the Loop Position will be set to the slice’s start point but with Pad
Loop deactivated.
Use the Program field to specify the program to which you want to add the slice.
To convert the sample, click Do It.
To cancel the operation, click Close.
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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. 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. This way, you will
still be able to edit the entire sample further even though you are using only part of it at the moment.
Use the Program field to specify the program to which you want to add the slice.
To convert the sample, click Do It.
To cancel the operation, click Close.
If you set the Convert To field to Patched phrase, this will create a new sample that will play based on the tempo of
your Sequence, and places it in the current project. The patched phrase will have the same name as the original
sample but appended with pp and will use a different icon when viewing your project information.
Use the Bars field to set how many bars long the patched phrase is meant to be.
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Processing Slices
Use the Function buttons to select an editing process.
Important: Chop Mode is non-destructive: You can choose the slice/edit behavior without destroying your original
sample, giving you more control over sample playback; you can save your sliced sample and but also reuse all of the
slice data in another project.
The Silence process replaces the region between the start point and end point with silence.
The Extract process deletes the regions before the start point and after the end point and saves it as a new sample
(with a name you enter) in your current project.
Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to use
separately in the project.
The Normalize process increases a sample’s level to the highest level possible without distortion. 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.
The Reverse process reverses the region between the start point and end point.
The Fade In process sets a fade-in between the start point and end point. The following types are available:
Linear fades the audio in with a linear curve—a straight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the
end.
The Fade Out 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.
The Pitch Shift 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.
The Gain Change process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired
effect, but remember to watch your output level!
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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, click Program in the QLinks panel. 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).
Alternatively, click 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.
Program 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 one of the following:
•
Use the Loop field.
•
Click and drag the start (S) marker (if Loop Lock is on) or the loop marker (if Loop Lock is off).
•
Use the first bank of Q-Link knobs (if Loop Lock is on) or the third bank Q-Link knobs (if Loop Lock is off).
The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
To turn Loop Lock on or off, click the Lock button. When on, the loop point is the same as the start point. When
off, the loop point is independent from the start point.
To turn the loop function on or off, click 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. When it reaches the loop point again, it will
start playing forward again from the loop point.
Click each pad to hear its sample/samples. The sample on its first layer will automatically appear in the waveform
display for editing.
Use the Tune field to transpose the sample up or down from its original pitch.
Click From BPM to open the Edit Tuning window, which lets you tune a sample to the current sequence.
Use the Number of Beats field to match the number of beats in the sequence.
To tune the sample to the sequence, click 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, click To Seq. This is the same as
clicking Match but it also changes the sequence’s tempo to the BPM shown in the Tempo field on the right.
To close the window, click Close.
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Use the Root Nt 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).
If the Slice field is set to All, you can display the sample as it has been edited but keep the start point and end point.
To do this, press and hold Shift, and then click To Pad at the bottom of the window. The Slice field will change to
Pad, but the start point and end point will remain in their current locations.
The Link Slices button does not have a function in Program Mode.
0 Snap forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can
help to avoid clicks and glitches when playing a sample.
To enable or disable 0 Snap, press and hold Shift, and then click 0 Snap at the bottom of the window.
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Assigning Samples
You can assign your new sample directly to a pad from Program Mode.
To assign a sample, click Assign.
Important: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad.
If you set the Assign To field to Assign slice to a pad, the pad will simply refer to the slice in this sample instead of
creating a new sample. This is useful for reducing clutter in your project.
Use the Pad field to select the desired pad. Alternatively, press the desired pad.
Use the Slice Type field to select how the pad’s layer settings will be set when the slice is assigned to it (see
Program Edit Mode to learn more about the parameters mentioned below):
•
Non-Destructive Slice: The pad’s Slice setting will be set to the slice number.
•
Pad Parameters: The pad’s Slice setting will be set to Pad. The Pad Start and Pad End will be set to the
slice’s start point and end point values, and the Loop Position will be set to the slice’s start point but with
Pad Loop deactivated.
Use the Program field to specify the program to which you want to add the slice.
To assign the sample, click Do It.
To cancel the operation, click Close.
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. This way, you
will still be able to edit the entire sample further even though you are using only part of it at the moment.
Use the Program field to specify the program to which you want to add the slice.
To assign the sample, click Do It.
To cancel the operation, click Close.
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Processing Slices
Use the Function buttons to select an editing process.
Important: Program Mode is non-destructive: You can choose the slice/edit behavior without destroying your
original sample, giving you more control over sample playback; you can save your sliced sample and but also reuse
all of the slice data in another project. See the Program Edit Mode chapter to learn more about setting a pad to play
the entire sample, a specific slice of a sample, or a specific region of the sample (independent of its slice markers).
The Silence process replaces the region between the start point and end point with silence.
The Extract process deletes the regions before the start point and after the end point and saves it as a new sample
(with a name you enter) in your current project.
Tip: This is useful if you recorded a drum loop and wanted to remove just a snare drum hit, a kick drum hit, etc. to
use separately in the project.
The Normalize process increases a sample’s level to the highest level possible without distortion. 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.
The Reverse process reverses the region between the start point and end point.
The Fade In process sets a fade-in between the start point and end point. The following types are available:
Linear fades the audio in with a linear curve—a straight line between the start and end.
Log fades the audio in with a logarithmic curve—quickly rising at the start and flattening out towards the end.
Exp fades the audio in with an exponential curve—slowly rising in the beginning and growing steeper towards the end.
The Fade Out 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.
The Pitch Shift 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.
The Gain Change process raises or lowers the volume of the sample. You can adjust it up to 18 dB, higher or lower.
This function is different than Normalize because it will allow volumes beyond clipping level. This may be a desired
effect, but remember to watch your output level!
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Pad Mixer
In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects.
To enter the Pad Mixer, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Pad Mixer.
•
Click the pad-and-sliders icon in the toolbar (if shown).
•
Press Ctrl+5 (Windows) or +5 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Pad Mixer.
The Pad Mixer works like an audio mixer with various settings for each pad.
To select a pad, press its corresponding pad or click it on the window. Alternatively, use the Pad field in the upperleft corner.
To view more channels, use the Pad Bank buttons.
Use the Program field to select the program whose pads you want to view. Remember that only drum programs or
keygroup programs will display properly in the Pad Mixer.
Use the Track field to select the desired track.
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Channel Mixer
In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns,
submixes (while using your MPC controller hardware in Controller Mode), and masters.
To open the Channel Mixer, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Channel Mixer.
•
Click the sliders icon in the toolbar (if shown).
•
Press Ctrl+6 (Windows) or +6 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Channel Mixer.
The Channel Mixer works like an audio mixer with various settings for each channel.
108
Step Sequencer
The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,” simulating the
experience of a traditional step-sequencer-style drum machine.
This is available for MIDI tracks only, not audio tracks.
To enter the Step Sequencer, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Step Sequencer.
•
Click the rising-bars icon in the toolbar (if shown).
•
Press Ctrl+7 (Windows) or +7 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Step Sequencer.
To enter or delete steps in a sequence:
1. Use the Pad field in the Pads area to select the pad whose steps you want to enter or delete. The current pad
number is shown in the upper-left corner.
2. Use the Bar field in the Pads area to select the bar of the sequence whose steps you want to enter or delete.
The current bar number is shown in the upper-left corner.
3. Click the pads. Each pad corresponds to a step in the bar and will light with a color corresponding to its velocity.
Keep in mind that for time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. In
this case, use Pad Bank Buttons A and B to view all the steps within a bar.
109
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 controller hardware or to your
computer’s audio interface.
To open the Sampler, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Sampler.
•
Click the vinyl-and-tonearm icon in the toolbar (if shown).
•
Press Ctrl+8 (Windows) or +8 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Sampler.
To set up the Sampler before recording:
1. Make sure to reduce the volume levels of your audio source and speakers, headphones, and/or monitors before
you make any connections to avoid “pops” or feedback.
2. Connect a synthesizer or other line-level audio source to the input/inputs of your MPC controller hardware.
3. Turn the Rec Vol knob to set the input level while playing your audio source. 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. Set the recording controls as desired (described in this chapter).
5. Click the Arm button to record-arm the Sampler.
You can use the Sampler to record using four different methods: Sample, Slice, Pad Tap, or Pad Hold, all described
later in this chapter. The following controls are present regardless of which method you use.
The upper-left Input Source field defines whether you are going to record an external audio signal (Input 1,2, Input
3,4, or one of Input 1–4) or an internal signal from within MPC Live (Resample L, Resample R, or Resample L+R).
Resampling does not require an audio connection because the source is within MPC Live and is therefore recorded
without any loss in audio quality. You can, for example, use Resample to record two or more samples by pressing
the corresponding pads simultaneously.
Use the Mono/Stereo menu to choose whether your recorded samples will be monaural (Mono) or binaural (Stereo).
The Inserts show any enabled or disabled effects for the Sampler. Click the area under Inserts to open a window where
you can load, change, and enable or disable the effects.
Important: These effects are applied to the audio as you record it. This means that the effects cannot be “removed”
from the sound later.
110
Click 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 Sampler, ensuring zero latency. When off, the audio you hear in your headphones will
be taken after it is processed in the Sampler, 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.
Use the threshold slider to adjust the threshold. Alternatively, turn the bottom-most Q-Link knob.
When the Sampler is record-armed, it 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. Set this parameter to an appropriate level using the level meter.
For reference, the Sample Length counter shows you the length of your sample during the recording procedure.
Click Arm to record-arm the Sampler. The button will then change to Record and show Waiting for signal.
At that point, start recording by doing either of the following:
•
Start performing so that the incoming audio level exceeds the level of the threshold slider.
•
Click Record under the Sample Length counter.
Use the Max Length field to define the maximum sampling time. Alternatively, turn the top-most and second Q-Link
knobs.
You can record up to 20 minutes and 59 seconds (20:59) per sample. We recommend setting these to values that
roughly match your estimated recording duration.
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Sample
Using this method, you can insert slice markers directly in your sample as you record it.
Slice markers divide the sample into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit
Mode (see Sample Edit Mode > Chop Mode for more information). This is useful when working with a long sample with
different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
To start recording, do one of the following:
•
Start performing so that the incoming audio level exceeds the level of the threshold slider.
•
Click Record under the Sample Length counter.
To insert a slice marker in a sample while recording, click Add Slice as the sample records. Each time you press
it, a slice marker will be placed at that location.
To stop recording, click Stop under the Sample Length counter.
After you stop your recording, the Keep or Discard Sample window will appear.
Use the Program field to assign the new sample to a program. Select <none> if you want to save it to the project
without assigning it to a program.
Use the Assign to Pad field to assign the sample to a pad in the program.
Use the Root Note field to set where the sample’s original pitch will be on the keyboard.
If you recorded a sample while a sequence was playing, the Keep or Discard Sample window will show a few more
options after you select a pad.
Check the Add Event box to automatically add the sample to the currently playing sequence.
Use the @ field to select where you want the event to start:
•
Start: The sample will be a note event at the start of the currently playing sequence.
•
Trigger: The sample will be a note event where you began recording it in the currently playing sequence.
Use the Track field to set which track will contain the new event.
To confirm your selections, click Keep at the bottom of the window.
To discard the recording and return to the Sampler, click Discard.
To play the recording, click Play.
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).
112
Slice
Using this method, the pads correspond to slices of the currently recorded sample. Slice markers divide the sample
into multiple regions called slices, which you can adjust in the Chop Mode of Sample Edit Mode (see Sample Edit
Mode > Chop Mode for more information). This is useful when working with a long sample with different sounds
throughout (e.g., a drum loop or a long melodic or harmonic passage).
To start recording, do one of the following:
•
Start performing so that the incoming audio level exceeds the level of the threshold slider.
•
Click Record under the Sample Length counter.
To insert a slice marker in a sample while recording, press any pad as the sample records. Each time you press
it, a slice marker will be placed at that location.
The number of the pad that flashes red is the number of the slice marker that will be inserted next. The numbers of
the pads that are lit yellow are the numbers of the slice markers that are already inserted.
When you are done recording, you can name the sample and create a new program using the slices.
To stop recording, click the round Stop button.
After you stop your recording, the Keep or Discard Sample window will appear.
Use the Edit Name field to name the new sample. Otherwise, the process will add a consecutive number after the
sample name.
Use the Create New Program field to assign the new sample to a new program:
Off: No program will be created. The slices will still be added to your project’s sample pool.
With Non-Destructive Slices: In the new program, each pad’s Slice setting will be set to the corresponding slice
number. This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode >
Chop Mode).
With Pad Parameters: In the new program, each pad’s Slice setting will be set to Pad. The Pad Start and Pad
End will be set to the slice’s start point and end point values, and the Loop Position will be set to the slice’s start
point but with Pad Loop deactivated. This is identical to how you can assign samples in Sample Edit Mode (as
described in Sample Edit Mode > Chop Mode).
To confirm your selections, click Create or Keep.
To discard the recording and return to the Sampler, click Discard.
To play the recording, click Play.
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).
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Pad Tap
Important: This mode works for drum programs only; you must select a drum program before using this mode.
Otherwise, this feature will not do anything, even though it may appear to work.
With this method, pressing a pad immediately starts or continues recording directly to that pad (make sure you are
using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads without
samples are lit dim yellow.
To start recording to a pad, press it. Recording will start immediately, and the pad will flash red. If you press a new
pad, the recording will stop on the previous pad, which will turn green, and start on the new pad, which will flash red.
Note: If you start recording by clicking Record under the Sample Length counter—or if the volume exceeds the
level of the threshold slider—the sample will record to your project’s sample pool, not to a pad.
To stop recording to a pad, press the currently recording pad, which is flashing red. The sample will continue
recording. You can start recording on another pad at any time.
To stop all recording, click Stop under the Sample Length counter.
When you are done recording, each pad that you have pressed during recording:
•
will have its Slice setting set to Pad;
•
will have its Pad Start and Pad End set to the slice’s start point and end point values; and
•
will have its Loop Position set to the slice’s start point but with Pad Loop deactivated.
This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop
Mode).
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).
Pad Hold
Important: This mode works for drum programs only; you must select a drum program before using this mode.
Otherwise, this feature will not do anything, even though it may appear to work.
With this method, pressing and holding a pad immediately starts or continues recording directly to that pad (make sure
you are using the desired program before you start recording). Pads with assigned samples are lit bright yellow. Pads
without samples are lit dim yellow.
To start recording to a pad, press and hold it. Recording will start immediately, and the pad will light red.
Note: If you start recording by clicking Record under the Sample Length counter—or if the volume exceeds the
level of the threshold slider—the sample will record to your project’s sample pool, not to a pad.
To stop recording, release the pad. The pad will light green, and the sample will continue recording. You can start
recording on another pad at any time.
To stop all recording, click Stop under the Sample Length counter.
When you are done recording, each pad that you have pressed during recording:
•
will have its Slice setting set to Pad;
•
will have its Pad Start and Pad End set to the slice’s start point and end point values; and
•
will have its Loop Position set to the slice’s start point but with Pad Loop deactivated.
This is identical to how you can assign samples in Sample Edit Mode (as described in Sample Edit Mode > Chop
Mode).
Tip: We recommend editing your recorded sample in Sample Edit Mode (see Sample Edit Mode for more information).
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Looper
The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous
moments in the studio. You can export the loop as a sample to use in your project.
To open the Looper, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Looper.
•
Click the loop-and-waveform icon in the toolbar (if shown).
•
Press Ctrl+Shift+8 (Windows) or +Shift+8 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Looper.
Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter to
learn how to use the Looper in different cases.
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 synthesizer, audio player, etc. to the input/inputs of your MPC controller hardware.
3. Turn the Rec Vol knob to set the input level while playing your audio source. 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. Set the recording controls as desired (described in this chapter).
5. Click the Record To selector so Overdub is selected.
6. Click the Rec/Record button in the lower-right corner to record-arm the Looper.
7. Play your audio source. The Looper will start recording immediately when the input level reaches the threshold
value. Alternatively, click /Play at the bottom of the window to manually start recording.
Each time the Looper repeats, its contents are being overdubbed—a new layer of audio will be added each time
you let the Looper repeat as it records.
Tip: You can record a loop while playing a sequence in the background for reference.
8. To stop recording, click /Play at the bottom of the window.
To export your loop as a sample, click Export to open the Keep or Discard Sample window.
To clear the contents of the Looper, click Clear.
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The Input Source field defines whether you are going to record an external audio signal (Input 1,2, Input 3,4, or one
of Input 1–4) or an internal signal from within the MPC software (Resample L, Resample R, or Resample L+R).
Resampling does not require an audio connection because the source is within the MPC software and is therefore
recorded without any loss in audio quality. You can, for example, use Resample to record two or more samples by
pressing the corresponding pads simultaneously.
Use the Mono/Stereo field to choose whether your recorded loop will be monaural (Mono) or binaural (Stereo).
The Inserts shows any enabled or disabled effects for the Looper. Click the area under Inserts to open a window where
you can load, change, and enable or disable the effects.
Important: These effects are applied to the audio as you record it. This means that the effects cannot be “removed”
from the sound later.
Click 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 Looper, ensuring zero latency.
You can turn input monitoring on only if the Input Source field is set to an input, not to a Resample setting.
When off, the audio you hear in your headphones will be taken after it is processed in the Looper, 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.
Use the threshold slider to adjust the threshold. Alternatively, turn the bottom-most Q-Link knob. The threshold
slider will work only when Sync is off.
When the Looper is record-armed, it 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. Set this parameter to an appropriate level using the level meter.
To reset the “peak hold,” which shows the highest level of your input signal in the level meter, click it.
Use the Bars field to define the length of your loop. Regardless of how much or how little audio you record, this is
how long your loop will be.
Use the Sync button to sync or un-sync the looper with sequence playback. When on, the Looper will stay in step with
your current sequence. When you play or record into the Looper, it will wait until the sequence starts playing Bar 1 to
start.
Use the Record To selector to determine the loop recording behavior:
Play: Before recording, you must first click the /Play button on the window, which will start playing the Looper.
Overdub: Before recording, you must first click the Rec/Record button in the lower-right corner to record-arm the
Looper.
Use the Output Gain slider to set the output signal level of the Looper.
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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, click the Replace or Overdub button as the loop is playing. The Looper will start
recording immediately.
To stop recording, click the Replace or Overdub button. The Looper will stop recording but continue
playing.
To stop playback and recording, click the /Play button.
If Record To is set to Overdub:
To start recording, click the /Play button on the window.
If Sync is off, you can also play your audio source so that the input level reaches the threshold value.
If Sync is on, you can also press the Play or Play Start button to start playing a sequence; recording will
start when the sequence starts on Bar 1.
To stop recording, click Overdub. The Looper will stop recording but continue playing.
To stop playback and recording, click the /Play button, or press stop to stop sequence playback.
To play or stop the loop (without recording), click the /Play button on the window.
To reverse loop playback, click 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, click Clear.
To export the loop as a sample:
1. Click Export to open the Export Loop as a Sample window.
2. Click the Edit Name field and use the virtual keyboard that appears to type a name.
3. Optional: Use the Program field to assign it directly to a program. To ignore this feature, select <none>.
4. Optional: If you’re assigning the sample to a program, use the Assign to Pad field to assign it to a specific pad.
Alternatively, just press the pad. To ignore this feature, select Off.
5. Use the Root Note field to select the sample’s root note.
6. Optional: Click and hold your finger on Play to play the sample.
7. Click Do It to confirm your choice, or Cancel to cancel.
When your loop is done exporting, it will be added to your project’s sample pool with the name you entered and
will be assigned to the program and pad you selected (if any).
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Pad Mute Mode
Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad within a program.
To enter Pad Mute Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Pad Mute.
•
Click the square-and-X icon in the toolbar (if shown).
•
Press Ctrl+9 (Windows) or +9 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Pad Mute.
Pad Mute
You can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you
want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds.
Tip: This function is similar to muting pads one at a time in the grid—but more convenient.
To mute pads in this mode:
1. If the Pad Mute tab in the lower-left corner is not already selected, click it.
2. Select the desired pad bank. Use the Pad Bank Buttons or click a pad bank shown on the left side of the window.
3. To mute or unmute a pad’s sound, press it or click it in the window. Muted pads are lit red. Unmuted pads are lit
yellow. Unused pads do not show any sample names.
To assign pads to pad groups within this tab:
1. Use the Q-Link button to select a row of four pads, outlined in the window.
2. Turn each of the Q-Link knobs to assign each of the four outlined pads to a pad group. The number of each
pad’s group is shown in its upper-right corner.
Pad Group
The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track)
by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a
particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16
different pad groups.
To use pad groups:
1. If the Pad Group tab in the lower-left corner is not already selected, click it.
2. Use the Pad Bank buttons to select the desired pad bank.
3. To select a pad to add to a mute group, press it or click it on the window. The selected pad is lit green. If there are
other pads in the same mute group, they will flash yellow.
4. To add the pad to the mute group, click the number of the desired mute group on the left side of the window. To
remove it from the mute group, click Off.
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Track Mute Mode
Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling you to mute multiple
tracks at once.
To enter Track Mute Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Track Mute.
•
Click the bars-and-X icon in the toolbar (if shown).
•
Press Ctrl+0 (Windows) or +0 (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Track Mute.
Track Mute
This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on
the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track.
Tip: This function is similar to, but more convenient than, muting tracks one at a time in the Track View.
To mute tracks in this mode:
1. If the Track Mute tab in the lower-left corner is not already selected, click it.
2. Select the desired pad bank. Use the Pad Bank buttons or click a pad bank shown on the left side of the window.
3. To mute or unmute a track, press the corresponding pad or click it in the window. Pads for muted tracks are lit
red. Pads for unmuted tracks are lit yellow. Pads for unused tracks do not show any information.
To assign tracks to track groups within this tab:
1. Use the Q-Link button to select a row of four pads, outlined in the window.
2. Turn each of the Q-Link knobs to assign each of the four outlined pads to a track group. The number of each
pad’s track group is shown in its upper-right corner.
Track Group
The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single
sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track
without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create
up to 16 different track groups.
To assign tracks to track groups:
1. If the Track Group tab in the lower-left corner is not already selected, click it.
2. Select the desired pad bank by using the Pad Bank buttons.
3. To select a track to add to a mute group, press the corresponding pad or click it on the window. The pad for the
selected track is lit green. If there are other pads for tracks in the same mute group, they will flash yellow.
4. To add the track to a mute group, click the number of the desired mute group.
To remove the track from the mute group, click Off.
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Next Sequence Mode
Next Sequence Mode lets you trigger different sequences simply by playing the pads. This is useful for live
performances, letting you change a song’s structure in real time.
To enter Next Sequence Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Next Sequence.
•
Click the double-arrow icon in the toolbar (if shown).
•
Press Ctrl+- (Windows) or +- (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Next Sequence.
In Next Sequence Mode, every pad is assigned to a sequence, starting from Pad A01 with Sequence 1 and
ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to
unused sequences. The currently selected pad will flash green.
During playback, change the next sequence that will play by pressing the corresponding pad or clicking it in the
window. If you do not select another sequence, the current sequence will repeat indefinitely.
As a sequence plays, you can use the buttons at the bottom of the window to change how playback works:
To switch to the currently selected sequence at the beginning of the next bar, click 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, click Sudden. The new sequence will start playing
whether or not the current sequence is done. This is useful in live performances if you need to switch to the next
sequence instantly at a certain cue.
To delete the currently selected sequence from the sequence playlist, click Clear. This option is available only
if that sequence is not playing at that moment.
To repeat the current sequence indefinitely and temporarily ignore pad presses, click Hold. To return to
normal operation, click it again. This is useful if you want to select other pads without selecting them to play next.
To copy the sequence playlist to a song, click Copy to Song while playback is stopped.
To read more about Song Mode, please see the Song Mode chapter.
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Song Mode
Song Mode lets you arrange sequences in a specific order and/or repetition to create songs. You can edit the
structure of a song during playback for easy, on-the-fly composing.
A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can have an assigned
sequence as well as the number of times that sequence will repeat.
To open Song Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click Song.
•
Click the musical-notes icon in the toolbar (if shown).
•
Press Ctrl+= (Windows) or += (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click Song.
Important: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter Song
Mode during playback.
Use the Song field to select the song you want to show.
Use the BPM field to adjust the tempo of the sequence.
The sequence playlist on the left lists of the “steps” of a song.
Each step has (in columns, left to right):
•
the step number (each song can contain up to 999 steps)
•
a sequence number and name
•
how many times the sequence plays (each step can play up to 999 times; set it to Hold [the lowest/minimum
value] to set the sequence to repeat indefinitely until you stop playback)
•
the tempo of the sequence
•
the number of bars the step occupies (based on how many times it plays)
Each used sequence is assigned to a pad. Use the Pad Bank buttons to access the sequences assigned to pads in
other banks.
To insert a step, click Insert Step.
To change a step’s sequence, click the sequence name in the desired step in the Sequence List.
To delete a step, click Delete Step.
To clear the entire sequence playlist (delete all steps), click Clear.
To convert the current song to a single sequence, click Convert > Seq to open the Convert to Sequence
window.
To render/export your song as an audio file, click Export to open the Audio Mixdown screen. See General
Features > Audio Mixdown to learn how to use this screen to export your song.
121
MIDI Control Mode
You can use MIDI Control Mode on your MPC controller hardware to customize what MIDI messages are sent from
certain controls on your hardware. This custom “control map” will then work whenever you are in MIDI Control Mode.
The edits you make in MIDI Control Mode will be retained with the current MPC project
In Standalone Mode, this feature enables you to use your MPC controller hardware to control external MIDI devices
connected to its MIDI out.
In Controller Mode, this is helpful when using MPC as a plugin: you can use MIDI Control Mode to use your MPC
controller hardware to control your host software, and then switch back to any other mode to control the MPC
plugin.
To enter MIDI Control Mode, do any of the following:
•
Click the Menu icon (≡), and go to View > Mode and click MIDI Control.
•
Click the MIDI-jack icon in the toolbar (if shown).
•
Press Ctrl+Shift+M (Windows) or +Shift+M (Mac OS X).
•
Click the  icon next to the other mode icons in the toolbar, and click MIDI Control.
Important:
In Standalone Mode: Make sure your MPC hardware is using the correct MIDI output. You can set this in the
Preferences (see General Features > Menu > Preferences > Hardware).
In Controller Mode: In your host software, make sure your MPC controller hardware is selected as a MIDI controller
device.
To select a control to edit, do one of the following:
•
Press or turn it. In the lower-left corner, click the Hardware tab to edit a pad, button, or Q-Link knob, or
click the XY tab to edit the XY pad.
•
Click the Control field in the upper-left corner, and then turn the data dial to select one.
•
Double-click the Control field, and then click a control name in the menu that appears.
Note: The Control field menu may show many more hardware controls than are actually available on your MPC
controller hardware. This is because the list includes all possible controls from all current MPC models (MPC
Renaissance, MPC Studio, MPC Touch, etc.). You can edit only the controls that are described in this chapter.
In the window, use the following fields and selectors to set each control’s parameters to your preference. The
available parameters depend on its type: a pad, or button, a Q-Link knob, or each axis of the XY pad. When you
have set all of the parameters as desired, you can select another control or enter another mode.
The software window will also display a graphical interface resembling your MPC controller hardware. Editable
controls show their current MIDI message. Pads and Q-Link knobs show their current MIDI channels.
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Pads
These are the MIDI parameters you can edit for each pad:
Control: This is the hardware control you are currently editing (Pad 1–Pad 16).
Bank: This is the pad bank the pad belongs to. If you check the Set All box, the pad’s messages and parameters
will be identical across all eight banks.
Set All: When this box is checked, the pad’s messages and parameters will be identical across all eight banks.
When this box is unchecked, the pad’s messages and parameters will apply to the current pad only.
Light LED: This determines how the pad’s LEDs will behave.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the
pad.
When set to Local, the LEDs will light up when you press the pad and/or MIDI input is received.
MIDI Channel: This determines which MIDI channel (1–16) the pad will use to send its message to the software.
Note: This is the MIDI note number the pad will send to the software when you press it (0–127 or C-2 to G8).
Velocity: This determines whether the pad will be velocity-sensitive (On) or not (Off). When set to Off, pressing the
pad will send a note at full-level (127) always.
Aftertouch: This determines how the pad’s aftertouch (pressure applied to the pad after the initial press) behaves.
Off: The pad will not send any aftertouch messages.
Channel: If you press multiple pads that have this setting, the aftertouch messages they send will be identical.
Poly: If you press multiple pads, the aftertouch message each pad sends will be independent from the others.
Buttons
These are the MIDI parameters you can edit for each button. You can edit the Erase, Tap Tempo, Undo/Redo, or
Copy/Delete buttons:
Control: This is the hardware control you are currently editing (Erase, Tap Tempo, Undo, or Copy).
Light LED: This determines how the button’s LED (or multiple LEDs) will behave.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the
button.
When set to Local, the LEDs will light up when you press the button and/or MIDI input is received.
MIDI Channel: This determines which MIDI channel (1–16) the button will use to send its message to the software.
CC Number: This determines what MIDI Control Change number the button will send to the software.
Type: This determines whether the button will behave as a Momentary switch or Toggle (latching) switch.
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Q-Link Knobs
These are the MIDI parameters you can edit for each Q-Link knob:
Control: This is the hardware control you are currently editing (QLink 1–4).
Light LED: Although you can edit this parameter, it does not actually have a function on your MPC controller
hardware.
When set to Never, the LEDs will always be off.
When set to MIDI Input, the LEDs will light up when the software receives a MIDI message that matches the
Q-Link knob.
When set to Local, the LEDs will light up when you touch or turn the Q-Link knob and/or MIDI input is
received.
MIDI Channel: This determines which MIDI channel (1–16) the Q-Link knob will use to send its message to the
software.
CC Number: This determines what MIDI Control Change number the Q-Link knob will send to the software.
Mode: This determines how the Q-Link knob will control its parameter.
Absolute: The Q-Link knob’s current position determines its parameter’s value; moving it may cause its
parameter to “snap” to a new position if you’re using it to control different parameters in different modes.
Relative: Moving the Q-Link knob will increase or decrease its parameter regardless of its physical position.
Low Range: This is the Q-Link knob’s lowest possible value (0–127).
High Range: This is the Q-Link knob’s highest possible value (0–127).
Touch Sense: This activates or deactivates the Q-Link knob’s touch-capacitive circuitry.
On: You can touch the Q-Link knob to send a Note On message to the software (this is how your MPC
controller hardware normally works).
Off: The Q-Link knob will not send any Note On messages; it will only send CC messages when you turn it.
Note: This is the MIDI note number the Q-Link knob will send to the software when you touch it (0–127 or C-2 to
G8). Touch Sense must be set to On for this to work.
XY Pad
These are the MIDI parameters you can edit for each axis of the XY pad of an MPC X, MPC Live, or MPC Touch:
Control: This is the axis you are currently editing (XYFX X-Axis or XYFX Y-Axis). This field will be hidden if you
tapped the XY tab to show the XY pad’s parameters. You can click the Hardware tab to show this field.
Mute: This button determines whether the axis is muted or not. When muted, its MIDI output is disabled. You must
be viewing the Settings to do this.
MIDI Channel: This determines which MIDI channel (1–16) the axis will use to send its message to the software.
CC Number: This determines what MIDI Control Change number the axis will send to the software.
Low Range: This is the axis’s lowest possible value (0–127).
High Range: This is the axis’s highest possible value (0–127).
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Appendix
Effects & Parameters
This chapter lists the available 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.
Reverbs
Options: Reverb Small, Reverb Medium, Reverb Large, Reverb Large 2, Reverb In Gate, Reverb Out Gate
Reverb Small
This is a spatial effect, designed to emulate a small room.
Parameter
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
Parameter
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 Medium
This is a spatial effect, designed to emulate a medium room.
125
Reverb Large
This is a spatial effect, designed to emulate the sound of a
large hall.
Parameter
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
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Parameter
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
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Parameter
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
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Gate In
0–100
0
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.
126
Reverb Out Gate
This is a hall reverb that has an additional control. The reverb Parameter
effect is cut off when the output drops below the level set in
Dry/Wet
the Gate Out parameter.
Pre-Delay
Value Range
Default Value
0–100 (dry–wet)
50
1–100
50
Early Reflection
0–100
50
Density
0–100
50
Diffuse
0–100
50
Decay
0–100
75
Lo-Cut
0–100
10
Hi-Cut
0–100
10
Gate Out
0–100
0
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, Delay Multi-Tap
Delay Mono
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
100
Feedback
0–100
25
Damping
0–100
100
Delay Mono Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
25
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
100
Feedback
0–100
25
Damping
0–100
100
Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true
stereo.
127
Delay Sync (Stereo)
Stereo Delay operates similarly to Mono Delay but in true
stereo.
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
500
Feedback
0–100
50
Cutoff
0–100
50
Resonance
0–100
20
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time
2–2000 ms
100
Feedback
0–100
50
Cutoff
0–100
33
Resonance
0–100
33
Value Range
Default Value
0–100 (dry–wet)
50
2–2000 ms
100
0–100
25
Value Range
Default Value
0–100 (dry–wet)
50
Delay LP
LP Delay is identical to the Mono Delay, but it uses a
resonant low-pass filter in the delay line.
Delay HP
HP Delay is identical to the Mono Delay, but it uses a
resonant high-pass filter in the delay line.
Delay Analog
Analog Delay is similar to the Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/Wet
This delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time
Feedback
Delay Analog Sync
Analog Delay is similar to Mono Delay, except that it’s
Parameter
designed to emulate an analog “Bucket Brigade”-style delay.
Dry/Wet
This delay has a unique character to it that gives a warmer
sound by adding subtle inaccuracies in phase and timing.
Time
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Ramp
0–100
50
128
Delay Tape Sync
Tape Delay emulates a delay system using an analog tape
Parameter
loop and a series of tape heads to produce an echo effect.
This delay type yields a very distinct echo sound often heard Dry/Wet
in reggae and dub-style music.
Time
Value Range
Default Value
0–100 (dry–wet)
50
1 bar – 1/16 triplets 1/4
Feedback
0–100
50
Ramp
0–100
50
Head 1
0–100
100
Head 2
0–100
0
Head 3
0–100
0
Head 4
0–100
0
Tone
0–100
50
Spread
0–100
50
Wow & Flutter
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time, Left
2–2000 ms
100
Time, Right
2–2000 ms
100
Feedback
0–100
25
Damping
0–100
100
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
50
Time 1
2–2000 ms
100
Time 2
2–2000 ms
100
Time 3
2–2000 ms
100
Feedback
0–100
25
Pan 1
0–100
50
Pan 2
0–100
50
Pan 3
0–100
50
Damping
0–100
100
Gain 1
0–100
25
Gain 2
0–100
25
Gain 3
0–100
25
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.
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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, Flanger Sync
Flanger
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Feedback
-100 – 100
0
Delay
0–100
20
Width
0–100
80
Flanger Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
8 bars – 1/16 triplets
1/4
Feedback
-100 – 100
0
Delay
0–100
20
Width
0–100
80
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, Chorus 4-Voice
Chorus 2-Voice
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Delay
0–100
20
Amount
0–100
80
Width
0–100
80
Feedback
0–100
50
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Delay
0–100
20
Amount
0–100
80
Width
0–100
80
Feedback
0–100
50
Rate
0–100
10
Chorus 4-Voice
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Autopans
This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.
Options: Autopan, Autopan Sync
Autopan
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
8 bars – 1/32
1/4
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, Tremolo Sync
Tremolo
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Sine to Square 0–100 (sine–square) 0
Tremolo Sync
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
1 bar – 1/16 triplets
1/4
Sine to Square 0–100 (sine–square) 0
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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, Phaser Sync
Phaser 1
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
10
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
1 bar – 1/16 triplets
1/4
Parameter
Value Range
Default Value
Frequency
10–19999 Hz
1500
Resonance
0–100
0
Phaser 2
Phaser Sync
HP (High-Pass) Filters
Options: HP Filter, HP Filter Sweep, HP Filter Sync, HP Shelving Filter
HP Filter
This effect is a static filter without modulation.
HP Filter Sweep
This effect is a high-pass filter with its cutoff frequency
modulated by an LFO.
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
132
HP Filter Sync
This effect is a high-pass filter with its cutoff frequency
modulated by an LFO.
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
Value Range
Default Value
10–19999 Hz
1500
Resonance
0–100
0
Gain
-18.0 – 18.0 dB
0.0
Parameter
Value Range
Default Value
Frequency
10–19999 Hz
1500
Resonance
0–100
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
80
HP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter
all frequencies after the cutoff point equally.
Frequency
LP (Low-Pass) Filters
Options: LP Filter, LP Filter Sweep, LP Filter Sync, LP Shelving Filter
LP Filter
This effect is a static filter without modulation.
LP Filter Sweep
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.
LP Filter Sync
This effect is a low-pass filter with its cutoff frequency
modulated by an LFO.
Low Frequency 0–100
0
High Frequency 0–100
100
Resonance
0–100
33
Rate
0–100
10
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
Value Range
Default Value
10–19999 Hz
1500
Resonance
0–100
0
Gain
-18.0 – 18.0 dB
0.0
LP Shelving Filter
This filter differs from the standard filter type, as it attenuates Parameter
all frequencies after the cutoff point equally.
Frequency
133
Parametric EQs
Options: PEQ 2-Band, 2-Shelf, PEQ 4-Band
PEQ 2-Band, 2-Shelf
This effect is a combination of one two-band parametric
equalizer and two shelving filters.
Parameter
Value Range
Default Value
Low Frequency
22–1000 Hz
220
Frequency 1
82–3900 Hz
820
Frequency 2
220–10000 Hz
2200
High Frequency
560–19999 Hz
5600
Q1
0–100
0
Q2
0–100
0
Low Gain
-18.0 – 18.0 dB
0.0
Gain 1
-18.0 – 18.0 dB
0.0
Gain 2
-18.0 – 18.0 dB
0.0
High Gain
-18.0 – 18.0 dB
0.0
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
0.0
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Distortions
Options: Distortion Amp, Distortion Fuzz, Distortion Grimey, Distortion Overdrive, Distortion Custom
Distortion Amp
This effect is designed to reproduce the sound of a tube
amplifier at high volumes.
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
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Output
0–100
50
Low
0–100
50
Low-Mid
0–100
50
High-Mid
0–100
50
High
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Grime
0–100
50
Center
0–100
50
Width
0–100
50
Resonance
0–100
50
Output
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
Tone
0–100
50
Output
0–100
50
Distortion Fuzz
This popular effect uses hard clipping of the audio signal,
which, at extreme settings, can turn a standard waveform
into a square wave, producing a “razor” effect.
Distortion Grimey
This is a unique distortion effect that distorts a frequency
range in a selectable band.
Distortion Overdrive
This distortion is designed to sound like a mildly distorting
amplifier at medium volumes. It is the smoothest distortion
type available.
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Distortion Custom
This effect is a highly customized distortion, capable of a
wide range of useable sounds.
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Drive
0–100
50
+Soft
5–75
2
+Clip
5–50
25
–Soft
5–75
2
–Clip
5–50
25
Low
-18.0 – 18.0 dB
0.0
Mid
-18.0 – 18.0 dB
0.0
High
-18.0 – 18.0 dB
0.0
Output
-18.0 – 18.0 dB
50
Compressors
A compressor is an effect that changes the dynamic range of a signal by automatically reducing its gain.
Options: Compressor Master, Compressor Opto, Compressor VCA, Compressor Vintage
Compressor Master
This is the most transparent compressor, able to perform
substantial volume adjustments without artifacts.
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Oldskool
Off, On
Off
Output
-6 – 24 dB
0
Value Range
Default Value
0–100 (dry–wet)
100
-6 – 18 dB
0
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Compressor Opto
The Opto Compressor is modeled after a vintage
Parameter
compressor type using an optical circuit to control the
volume reduction of the input signal. These compressors are Dry/Wet
usually associated with soft and unobtrusive attack and
Input
release characteristics.
Attack
136
Compressor VCA
This compressor is more modern-sounding, with a slightly
more transparent sound. A VCA Compressor tends to have
quicker attack and release times than an Opto Compressor.
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Input
-6 – 18 dB
0
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Input
-6 – 18 dB
0
Attack
0–100
50
Release
0–100
50
Threshold
-50 – 0 dB
0
Ratio
1–20
1
Knee
1–100
1
Output
-6 – 24 dB
0
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Decimate
0–100
0
Bit Reducer
4–32
32
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Rate
0–100
0
Decimate
0–100
0
Compressor Vintage
This compressor has a sound similar to classic tube
compressors, with their gentle yet pumping response and a
dash of tube saturation.
Bit Reducers
Options: Decimator, 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. The difference is that Resampler applies
a complex suite of filters and anti-aliasing to attempt to
retain the original sound quality. This is a method used by
popular vintage samplers and sampling drum machines from
the 1980s. Resampler can be used to achieve a “dirty”
sound on drum loops, without the harshness of distortion.
137
Other
Options: Auto Wah, Frequency Shifter, Transient Shaper
Auto Wah
This effect is a low-pass filter modulated by an envelope that Parameter
yields a classic funky “wah-wah”- like sound. The envelope
is triggered by the incoming signal’s amplitude. The amount Dry/Wet
of the envelope on the cutoff frequency is user-definable.
Resonance
Value Range
Default Value
0–100 (dry–wet)
100
0–100
75
Attack
0–100
30
Release
0–100
30
Center
0–100
50
Sensitivity
0–100
50
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Frequency
-1000 – 1000
0
Asynchrony
0–1000
0
A Pan
0–100
0
B Pan
0–100
100
A Gain
0–100
75
B Gain
0–100
75
Parameter
Value Range
Default Value
Dry/Wet
0–100 (dry–wet)
100
Attack
0–100
50
Release
0–100
50
Output
0–100
50
Frequency Shifter
A frequency shifter changes the frequencies of an input
signal by a fixed amount and alters the relationship of the
original harmonics. This can produce a chorus-like effect as
well as very crazy artificial timbres.
Transient Shaper
A transient shaper can be used to enhance or soften the
Attack and Release phases of audio material.
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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).
Aliasing
Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics
higher than half the sampling frequency.
Amount
Describes to which extent a modulation source influences a given parameter.
Amplifier
An amplifier is a component that influences the volume level of a sound via a control signal. It
can be modulated by a control signal (e.g., generated by an envelope or an LFO).
Attack
An envelope parameter. This term describes the ascent rate of a time-relevant process (e.g., an
envelope from its starting point to the point where it reaches its highest value). The attack phase
is initiated immediately after a trigger signal is received (e.g., after you play a note on a trigger
pad or a keyboard).
Bit Rate
Bit rate (also known as word length), is the number of bits used to store the level information of
each single sample slice within a whole sample. The higher the bit rate, the more precise the
information about a sample (i.e., its dynamics’ resolution). Normal audio CDs are 16-bit. MPC
supports full 24-bit resolution.
Clipping
Clipping is a sort of distortion that occurs when a signal exceeds the maximum value that can be
handled by a signal processing system it is fed into. The curve of a clipped signal is dependent
on the system where the clipping occurs. In the analog domain, clipping effectively limits the
signal to a given maximum level. In the digital domain, clipping is similar to a numerical overflow,
resulting in negative polarity of the signal’s portions exceeding the maximum level.
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.
Cutoff
The cutoff frequency is a significant factor for filters. A low-pass filter for example dampens the
portion of the signal that lies above this frequency. Frequencies below this value are allowed to
pass through without being processed.
Decay
Decay describes the descent rate of an envelope once the attack phase has reached its
maximum and the envelope drops to the level defined by the sustain value.
Envelope
An envelope is used to modulate a sound-shaping component within a given time. For instance,
an envelope that modulates the cutoff frequency of a filter opens and closes this filter over a
period of time. An envelope is started via a trigger, usually a MIDI note. The classic ADSR
envelope consists of four individually variable phases: attack, decay, sustain, and release.
Attack, decay and release are time or slope values, while sustain is an adjustable level. Once an
incoming trigger is received, the envelope runs through the attack and decay phases until it
reaches the programmed sustain level. This level remains constant until the trigger is terminated.
The envelope then initiates the release phase until it reaches the minimum value.
139
Filter
A filter is a component that allows some of a signal’s frequencies to pass through it and dampens
other frequencies. The most important aspect of a filter is the filter cutoff frequency. Filters generally
come in four categories: low-pass, high-pass, band-pass, and band-stop. These are the available
filters in the MPC software:
A low-pass filter (the most common type) dampens all frequencies above the cutoff frequency.
A high-pass filter in turn dampens the frequencies below the cutoff.
A band-pass filter allows only those frequencies around the cutoff frequency to pass. All others
are dampened.
A band-stop filter does the opposite of a band-pass: it dampens only the frequencies around the
cutoff frequency.
A band-boost filter boosts the frequencies around the cutoff frequency, similar to what a band on
an equalizer would do. All other frequencies pass through normally.
The number of poles in a filter’s “slope” determines how extreme or subtle the effect of the filter
will be. Filters with one or two poles produce a more subtle sound while filters with six or eight
poles are much more pronounced.
In the MPC software, the Model filters are analog-style emulations of famous vintage synth filters.
Model1 is a four-pole filter that distorts at high input levels. Model2 uses a mellow resonance
with a “fattening” distortion in the lower frequencies. Model3 can produce howling, piercing
resonances and extreme sub frequencies—watch your speakers!
In the MPC software, the Vocal filters are formant filters that emulate the human voice. Vocal1
produces “ah” and “ooh” vowel sounds. Vocal2 uses three bands to produce “oh” and “ee”
vowel sounds. Vocal3 uses five bands to emulate an idealized model of the vocal tract.
In the MPC software, MPC3000 LPF is a dynamic, resonant low-pass filter (12 dB/oct) that was
used on the original MPC3000, released in 1994.
Please also see the entry for Resonance, an essential characteristic of a filter’s sound.
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. At
the time a communications standard for heterogeneous devices did not exist, so MIDI was a
significant advance. It made it possible to link various devices with one another through simple,
standardized connectors.
Essentially, this is how MIDI works: One sender is connected to one or several receivers. For
instance, if you want to use a computer to play a MIDI synthesizer, the computer is the sender and
the synthesizer acts as the receiver. With a few exceptions, the majority of MIDI devices are
equipped with two or three ports for this purpose: MIDI In, MIDI Out and in some cases MIDI Thru.
The sender transfers data to the receiver via the MIDI Out jack. Data are sent via a cable to the
receiver’s MIDI In jack.
MIDI Thru has a special function. It allows the sender to transmit to several receivers. It routes the
incoming signal to the next device without modifying it. Another device is simply connected to this
jack, thus creating a chain through which the sender can address a number of receivers. Of course
it is desirable for the sender to be able to address each device individually. To achieve this, a MIDI
channel message is sent with each MIDI event.
MIDI Channel This is a very important element of most messages. A receiver can only respond to incoming
messages if its receive channel is set to the same channel as the one the sender is using to transmit
data. Subsequently, the sender can address specific receivers individually. MIDI Channels 1–16 are
available for this purpose.
MIDI Clock
The MIDI clock message transmits real-time tempo information to synchronize processes among
several connected devices (e.g., a sound generator’s delay time to a MIDI sequencer).
140
Modulation
A modulation influences or changes a sound-shaping component via a modulation source.
Modulation sources include envelopes, LFOs or MIDI messages. The modulation destination
is a sound-shaping component such as a filter or a VCA.
Note On & 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. This function automatically searches a sample for its maximum level and
consequently raises the entire sample’s level until the previously determined maximum level
reaches 0 dB. In general this results in a higher overall volume of the sample.
Panning
The process or the result of changing a signal’s position within the stereo panorama.
Pitch-Bend
Pitch-bend is a MIDI message. Although pitch-bend messages are similar in function to
control change messages, they are a distinct type of message. The resolution of a pitchbend message is substantially higher than that of a conventional controller message. The
human ear is exceptionally sensitive to deviations in pitch, so the higher resolution is used
because it relays pitch-bend information more accurately.
Program
A program is a file that contains a list of all samples to be used, and settings for each sample
(e.g., pad assignments, loop points, pitch tuning, effects, etc.) MPC’s Program Edit Mode is
where you can edit and assign samples. You can have a total of 128 programs in a project.
There are two kinds of programs that use samples for their sound source: drum programs,
mostly used for creating drum programs and easy and quick assigning of samples to a pad,
and keygroups programs. With keygroup programs, you can use one sample (or more) and
spread it across two or more keys and play the sample chromatically over a keyboard. That
way, there is no need to sample every key of, for instance, a piano.
Program Change
These are MIDI messages that select sound programs. Programs 1 through 128 can be
changed via program change messages.
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. This is one of the most
popular methods of manipulating sounds. If you increase the emphasis to a level where the
filter enters a state of self-oscillation, it will generate a relatively pure sine waveform.
Root Key
The root key defines the original pitch of a recorded instrument or of a sample. Samples in
the MPC software contain the dedicated root key information. This information will be
created automatically during recording or importing.
Sample
When you tap the pads on your MPC hardware, you can trigger sounds that we call
samples. Samples are digitized snippets of audio that can be recorded using the recording
(sampling) function of your MPC controller hardware or loaded from the Browser.
You can edit and process a sample in different ways. For example, a sample can be
trimmed, looped, pitch-shifted or processed, using various effects. When you have finished
editing your sample, you can assign it to one or more drum pads to play it. Samples can be
either mono or stereo.
Sample Rate
This is the frequency representing the amount of individual digital sample scans per second
that are taken to capture an analog siginal digitally. For normal CD audio recordings, 44100
samples per second are used, also written as 44.1 kHz. The MPC software offers sampling
rates up to 96 kHz.
141
Sequence
A sequence is the most basic building-block of music you can compose in the MPC
software. MIDI information from the MPC hardware pads, buttons, and Q-Link knobs are
recorded to the tracks of a sequence. Each sequence contains 64 tracks. Each project can
store up to 128 separate sequences.
The length of a sequence can be set from 1 to 999 bars, which would be enough to create an
entire song using only one sequence. However, the MPC software has a dedicated Song
Mode that lets you chain sequences together to create a song.
Song
The MPC software’s 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.
Track
A sequence contains 64 tracks and each track can record notes and controller data. For
example, you can record the verses of a song on Track 1, while recording the choruses on
Track 2. Alternatively, you can record different instruments on each track.
Note that your performances are recorded as MIDI events and the actual digital audio is not
recorded onto a track. That way, you can edit your performance in many different ways once
the performance has been captured.
Trigger
A trigger is a signal that initiates events. Trigger signals are very diverse. For instance, a MIDI
note or an audio signal can be used as a trigger. The events a trigger can initiate are also
very diverse. A common application for a trigger is its use to start an envelope.
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Trademarks & 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.
ARM and Cortex are registered trademarks of ARM Limited (or its subsidiaries) in the EU and/or elsewhere. All rights
reserved.
ASIO, Cubase, and VST are trademarks of Steinberg Media Technologies GmbH.
The Bluetooth word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such
marks by Akai Professional is under license.
MPC software incorporates élastique Pro V3 by zplane.development.
Mac and OS X are trademarks of Apple Inc., registered in the U.S. and other countries.
SD and SDHC are registered trademarks of SD-3C, LLC.
Windows is a registered trademark of Microsoft Corporation in the United States and other countries.
All other product names, company names, trademarks, or trade names are those of their respective owners.
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