- Computers & electronics
- Software
- Multimedia software
- Audio editing software
- Akai
- MPC Touch
- User Guide
advertisement
User Guide
English
Manual Version 2.3
Table of Contents
Introduction ............................................................ 6
Basic Concepts ..................................................... 25
Tutorial ................................................................... 26
1. Connection ................................................ 7
Creating a Drum Sequence ............................ 28
Saving & Renaming ......................................... 29
Editing Note Events ......................................... 31
Features .................................................................. 9
Making Basic Sound Edits .............................. 33
MPC X ................................................................ 9
Pad & Q-Link Controls ..................................... 10
Mode & View Controls ..................................... 11
Transport & Recording Controls ...................... 12
I/O & Level Controls ........................................ 13
Touchscreen ................................................... 14
Front Panel .................................................. 15
Rear Panel ................................................... 16
MPC Live .......................................................... 17
Top Panel ..................................................... 17
Touchscreen ................................................... 19
Rear Panel ................................................... 20
MPC Touch ...................................................... 21
Top Panel ..................................................... 21
Touchscreen ................................................... 23
Creating a Bass Track ..................................... 35
Recording an Audio Track .............................. 38
Creating a Song ............................................... 39
Exporting the Song .......................................... 40
Other Features Explained ............................... 41
Step Sequencer ............................................ 41
Drum Loops & Chop Mode .......................... 42
Pad Muting & Track Muting ......................... 44
Sampling (Recording) ................................... 46
Sample Editing ............................................. 48
Recording Automation with the XY Pad ...... 50
Using MPC X or MPC Live as a Controller .. 51
Rear Panel ................................................... 24
2
Operation .............................................................. 52
General Features ............................................. 53
Envelopes ....................................................... 56
Grid View Tools ............................................... 57
Audio Edit Tools .............................................. 58
Drum Programs ............................................... 60
Keygroup Programs ........................................ 62
Clip Programs ................................................. 63
Plugin Programs .............................................. 65
MIDI Programs ................................................ 66
CV Programs .................................................. 67
Menu ............................................................ 68
Save ............................................................... 69
Project Defaults ........................................... 72
Bluetooth .................................................... 74
System Resources .......................................... 76
Time Counter/Locate ................................... 77
Timing Correct (TC) ...................................... 79
Metronome (Click/Metro) ............................. 81
16 Level ........................................................ 83
Erase ............................................................. 84
Keygroups .................................................. 89
Audio Tracks ............................................... 91
Programs .................................................... 92
Submixes .................................................... 94
Masters ...................................................... 95
Send/Return Effects ........................................ 96
Pads ........................................................... 97
Keygroups .................................................. 98
Submixes .................................................. 100
Audio Mixdown .......................................... 101
Battery Usage ............................................. 102
Standalone vs. Controller Mode ................ 103
3
Modes............................................................. 105
Main Mode ................................................. 106
Sequence Section ......................................... 111
Track Section ................................................ 119
Program Section ........................................... 128
Grid View ................................................... 133
Audio Edit Mode ........................................ 138
Track View ................................................. 146
MIDI Tracks ................................................... 148
Audio Tracks ................................................. 149
Step Sequencer ......................................... 150
XYFX Mode ................................................ 154
Sample Edit Mode ..................................... 157
Settings ......................................................... 159
Trim Mode .................................................... 160
Assigning Samples .................................... 164
Processing Slices & Samples .................... 166
Chop Mode ................................................... 171
Converting or Assigning Slices .................. 174
Processing Slices ...................................... 177
Program Mode .............................................. 180
Assigning Samples .................................... 183
Processing Slices ...................................... 184
Master ...................................................... 190
Samples ................................................... 191
Pan Velocity .............................................. 198
Filter/Envelope .......................................... 199
LFO Modulation ........................................ 200
Effects ...................................................... 202
Keygroup Programs ...................................... 204
Master ...................................................... 205
Samples ................................................... 208
Pan Velocity .............................................. 214
Filter/Envelope .......................................... 215
LFO Modulation ........................................ 216
Effects ...................................................... 218
Clip Programs ............................................... 220
Program ................................................... 222
Pad ........................................................... 223
Plugin Programs ............................................ 226
MIDI Programs .............................................. 227
CV Programs ................................................ 228
Anatomy of an Envelope ................................ 229
List Edit Mode ............................................ 230
Sample Assign .............................................. 236
Sampler ...................................................... 237
Sample ......................................................... 240
Slice .............................................................. 242
Pad Tap ........................................................ 243
Looper ........................................................ 245
Pad Mixer ................................................... 250
Channel Mixer ............................................ 255
MIDI Tracks ................................................... 258
Audio Tracks ................................................. 259
Programs ...................................................... 261
Returns ......................................................... 263
Submixes ...................................................... 264
Masters ......................................................... 265
Pad Mute Mode .......................................... 266
Pad Mute ...................................................... 267
Pad Group .................................................... 268
Track Mute Mode ....................................... 269
Track Mute .................................................... 270
Track Group .................................................. 271
4
Next Sequence Mode ................................ 272
Song Mode ................................................ 274
Q-Link Edit Mode....................................... 277
Project .......................................................... 279
Program/Audio Track .................................... 281
Pad Scene .................................................... 283
Pad Parameter .............................................. 284
Screen .......................................................... 285
Pad Color Mode ........................................ 286
MIDI Control Mode .................................... 288
Pads ............................................................. 289
Buttons ......................................................... 290
Q-Link Knobs ................................................ 291
Pad Perform Mode .................................... 293
Reverbs ...................................................... 296
Delays ........................................................ 298
Flangers ..................................................... 301
HP (High-Pass) Filters ................................ 304
LP (Low-Pass) Filters ................................. 305
Parametric EQs .......................................... 306
Distortions .................................................. 307
Compressors ............................................. 308
Bit Reducers .............................................. 309
Other .......................................................... 310
Glossary ......................................................... 311
SATA Drive Installation ................................. 316
Technical Specifications .............................. 318
MPC X ........................................................ 318
MPC Live ................................................... 321
MPC Touch ................................................ 323
Trademarks & Licenses ................................ 324
Pitch Quantization ......................................... 327
Updates in MPC 2.2 ....................................... 329
Humanize ...................................................... 330
Generate Random Events ............................. 332
Project Template ........................................... 334
Updates in MPC 2.3 ....................................... 335
Auto Sampler ................................................ 337
Crossfade Looping ........................................ 339
Split Events ................................................... 341
AIR Electric ............................................... 345
AIR TubeSynth .......................................... 349
Plugin Preset Support ................................... 356
Corrections ................................................. 357
5
Introduction
Thank you for purchasing your MPC. At Akai Professional, we know how serious music is to you. That’s why we design our equipment with only one thing in mind—to make your performance the best it can be. This user guide explains how to create music using
MPC X
,
MPC Live
, and
MPC Touch
. There is similar documentation available for MPC products that use an LCD and for the MPC software application. To view these user guides, click the
Help
menu in the MPC software, select
MPC Help
, and select an option. 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
.
About This User Guide
This manual should help you get familiar with using your
MPC X
,
MPC Live
, or
MPC Touch
. For consistency, the terminology throughout is based on the MPC nomenclature. 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
: Press the
Play Start
button.
Turn
Q-Link Knob 4
. Tap the
Mute
button. The
Velocity
ranges from
0
to
127
.
Set the
Sample Play
selector to
One Shot
. Tap
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. Click the text to skip immediately to that section.
Examples
: Read the
For more information about installing the necessary drivers and software, see
To learn more about using send effects, see
6
Important Notes Setup
1. Connection
Here is just an example of how to use MPC X in your setup. Items not listed under
Introduction
>
Box Contents
of your included quickstart guide are sold separately. Headphones (to front-panel headphone output) Footswitch (to front-panel FS1 input) Powered Monitors Computer Read the included safety & warranty manual before using your MPC hardware. Before getting started and connecting devices to your MPC hardware or turning the hardware on/off, make sure all devices are switched off.
To use your MPC hardware in Controller Mode
(to control the MPC software): Before installing the MPC software, make sure your computer meets the system requirements described at
akaipro.com
. 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 hardware to your computer, install the drivers and software. Visit
akaipro.com
to download the latest versions. Refer to the
section for more information. SD Card (to front-panel SD card slot) Microphone Turntable USB drive Power 7
Remember to remove the protective film from your MPC hardware touchscreen!
To use your MPC hardware in Standalone Mode
, just connect it to a power outlet using the included power adapter, and power it on!
Note
: We highly recommend checking
akaipro.com
for any available updates to the MPC software/firmware and/or drivers.
To use your MPC hardware in Controller Mode
, continue to Step
2. Installation To use your MPC hardware in Controller Mode
(to control the MPC software),
follow these steps to download and install the required drivers & software
: 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.
3.
In your Akai Professional account, download the MPC software package. 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
(macOS ® ). You can also create a shortcut on your Desktop.
3. Getting Started
1.
Power on your MPC hardware. 2.
3.
4.
On your computer, open the
MPC
software. Follow the on-screen instructions to authorize your version of MPC. You will need an iLok account to complete this. You can create an account 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.
On your MPC hardware, check the upper-right corner of the touchscreen: • If there is a
monitor
Continue to
Step 6
. /
cable icon
, then your MPC hardware is already in Controller Mode. • If there is a i.
chip icon
Press
Menu
, then your MPC hardware is in Standalone Mode. Follow these steps: to enter the Menu. ii.
iii.
Tap the In the
MPC chip icon
in the upper-right corner.
Enter Controller Mode
window that appears, tap
Controller Mode
.
Looking for computer
may appear briefly on the screen before your MPC hardware recognizes the USB connection as a controller. 6.
In the MPC software, click the
Edit
menu, and select card you want to use. Click
OK
when you are done.
Preferences
. Click the
Audio
tab and select the sound
Important
: We highly recommend using your MPC hardware’s sound card (
Akai Pro MPC X
/
Live
/
Touch ASIO
). If you need to use the internal sound card on a Windows computer, we recommend downloading the latest ASIO4ALL driver at
asio4all.com
. To view the MPC software user guide, click the
Help
menu in the MPC software, select
MPC Help
, and select
MPC User Manual
. 8
Features
This chapter explains the features and functions of each MPC model with a touchscreen:
, and
MPC X
Top Panel 11 13 14 32 33 28 29 30 31 16 17 18 19 20 9 1 55 47 48 55 44 44 21 23 24 25 26 27 10 8 43 42 45 51 52 50 53 54 46 45 49 6 12 3 5 4 22 15 7 2 39 41 40 37 38 36 34 35 Navigation & Data Entry Controls
1.
Touchscreen
: This full-color multi-touch display shows information relevant to MPC X’s current operation.
Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later
section to learn how to use some basic functions.
Tip
: If you adjust the angle of the touchscreen, use the stand on its back panel to secure it in place. 2.
Cursors
: Press these buttons to navigate through the fields of menus and options shown on the screen. Press and hold
Shift
and press these buttons to zoom in or out of the Grid View or Audio Edit Mode. Press and hold
Shift
and press the
up
and
down cursors
simultaneously or the
left
and
right cursors
simultaneously to return to the default zoom setting. 9
3.
Data Dial
: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. 4.
–
/
+
: Press these buttons to increase or decrease the value of the selected field on the screen. 5.
Numeric Keypad
: If the selected field on the screen is a number, press these numbered buttons as you would on a standard numeric keypad to enter a value. Press the keypad’s
Enter
to enter it. (A numeric keypad with additional operations will appear on the screen, as well.) 6.
Undo
/
Redo
: Press this button to undo your last action. Press and hold
Shift
and press this button to redo the last action you undid. 7.
Shift
: Press and hold this button to access some buttons’ secondary functions (indicated by
red
writing). Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds. 8.
F-Key
: Press this button to activate or deactivate the F-Key feature. When active, the six buttons under the touchscreen correspond to the options shown at the bottom edge of the screen. The F-Key button and those six buttons will be lit
red
when active. When inactive, the six buttons under the touchscreen will access their normal modes instead (
Menu
,
Browser
,
Step Seq
,
Sampler
,
XYFX
, and
Looper
).
Pad & Q-Link Controls
9.
Q-Link Knobs
: Turn these touch-sensitive knobs to adjust various parameters and settings. The display strip above each knob indicates the parameter it is controlling. If the display strip shows a meter to indicate its value, you can touch or turn its Q-Link knob to temporarily show its precise numerical value. 10.
Pads
: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors. 11.
Pad Bank
: Press these buttons to access Pad Banks A–D. Press and hold
Shift
while pressing these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons. 12.
Copy
/
Delete
: Press this button to copy one pad to another. When the
From Pad
field is selected, press the “source” pad (the pad you want to copy). When the
To Pad
graphic (of all pads) is selected, press the “destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It
to continue or
Close
to return to the previous screen.
Tip
:
To quickly copy a pad
, press and hold
Copy
, press the source pad, press the destination pad, and then release
Copy
. Press and hold
Shift
and press this button to delete a pad’s sample assignment. When the
Delete Pad
window is shown, press any pad/pads whose sample assignments you want to clear. Tap
Delete
to continue or
Cancel
to return to the previous screen. 13.
Full Level
/
Half Level
: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (
127
), regardless of how much force you use. Press and hold
Shift
and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (
64
). 14.
16 Level
: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit 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 screen that appears, use the
Type
selector to choose the parameter:
Velocity
,
Tune
,
Filter
,
Layer
,
Attack
, or
Decay
. See
to learn more. 15.
Note Repeat
/
Latch
: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly. The rate is based on the current tempo and Time Correct settings. Press and hold
Shift
and then press this button to “latch” the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press
Note Repeat
once more to unlatch it. 10
16.
Project
: Press this button to use the Q-Link knobs to adjust parameters related to the current project. Press and hold
Shift
and then press this button to enter the Project Q-Link Edit Mode directly. See
17.
Program
: Press this button to use the Q-Link knobs to adjust parameters of the currently selected program or audio track. Press and hold
Shift
and then press this button to enter the Program Q-Link Edit Mode directly. See
18.
Pad Scene
: Press this button to use the Q-Link knobs to adjust parameters that you have assigned for the currently selected pad. Press and hold
Shift
and then press this button to enter the Pad Scene Q-Link Edit Mode directly. See
to learn about this. 19.
Pad Param
: Press this button to use the Q-Link knobs to adjust one parameter across all 16 pads. Each Q-Link knob corresponds to the pad with the same number and position in the 4-by-4 layout. Press and hold
Shift
and then press this button to enter the Pad Param Q-Link Edit Mode directly. See
20.
Screen Control
/
Edit
: Press this button to use the Q-Link knobs to adjust parameters in the currently selected
mode as shown on the screen. See
Press and hold
Shift
and then press this button to enter Q-Link Edit Mode where you can assign other parameters to the Q-Link knobs.
Mode & View Controls Note
: See
to learn about the different modes you can access with these controls. 21.
Menu
: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc. 22.
Main
/
Track
: Press this button to enter Main Mode. Press and hold
Shift
and then press this button to enter the Track View. 23.
Browse
/
Save
: Press this button to view the Browser. The Browser lets you navigate your computer’s internal and external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your workflow. You can also preview samples before loading them. Press and hold
Shift
and press this button to save the current project (including its samples, programs, sequences, and songs). 24.
Step Seq
/
List Edit
: Press this button to view the Step Sequencer where you can create or edit sequences by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. Press and hold
Shift
and press this button to view your sequences using the List Edit View instead of the Grid View. 25.
Sampler
/
Looper
: Press this button to view the Sampler where you can record audio samples to use in your projects. Press and hold
Shift
and press this button to view the Looper where you can 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. 26.
XYFX
: Press this button to view XYFX Mode, which turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move touch or move your finger on the screen, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks. 27.
Pad Perform
: Press this button to view Pad Perform Mode where you can assign musical scales/modes, chords, or progressions to the pads for creative performance options. 28.
Prog Edit
: Press this button to view Program Edit Mode, which contains all parameters for editing your programs. 29.
Sample Edit
: Press this button to view Sample Edit Mode where you can edit your samples using various functions and processes. 30.
Pad Mixer
: Press this button to view the Pad Mixer where you can set a program’s levels, stereo panning, routing, and effects. 31.
Ch. Mixer
: Press this button to view the Channel Mixer where you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes (in Controller Mode), and masters. 11
32.
Track Mute
/
Pad Mute
: Press this button to view Track Mute Mode where you can easily mute tracks within a sequence or set mute groups for each track. Press and hold
Shift
and press this button to view Pad Mute Mode where you can easily mute pads within a program or set mute groups for each pad within a program. 33.
Next Seq
/
Song
: Press this button to view Next Sequence Mode where you can trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time. Press and hold
Shift
and press this button to view Song Mode where you can 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.
Transport & Recording Controls
34.
Play
: Press this button to play the sequence from the audio pointer’s current position. 35.
Play Start
: Press this button to play the sequence from its start point. 36.
Stop
: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all voices and stop all audio processing. 37.
Rec
: Press this button to record-arm the sequence. Press
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. 38.
Overdub
: Press this button 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. 39.
<
/
>
(
Event |<
/
>|
): Use these buttons to move the audio pointer left or right, one step at a time. Press and hold
Locate
and press one of these buttons to move the audio pointer to the previous/next event in the sequence grid. 40.
<<
/
>>
(
Start
/
End
): Use these buttons to move the audio pointer left or right, one bar at a time. Press and hold
Locate
and press one of these buttons to move the audio pointer to the start or end of the sequence grid. 41.
Locate
: Press and hold this button to activate the secondary functions of the
<
/
>
and
<<
/
>>
buttons (i.e.,
Event |<
/
>|
and
Start
/
End
, respectively). 42.
Erase
: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See
43.
Tap
/
Master
: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see
to learn how to do this). Press and hold
Shift
and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit
red
) or a master tempo (the button will be lit
amber
). 12
I
/
O & Level Controls
44.
Gain 1
/
2
: Use these knobs to adjust the gain of the incoming signal from
Input 1
/
2
on the rear panel or
Inst 1
/
2
on the front panel. Use the
Rear
/
Front
switches below the knobs to determine the input. Use the
level meter
to check the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort. 45.
Rear
/
Front
: Use each switch to set whether the
Gain 1
/
2
knob above it will control the gain of the input signal on the rear panel (
Input 1
/
2
) or on the front panel (
Inst 1
/
2
). 46.
Phantom Power
(
+48V
): This switch activates and deactivates phantom power for
Input 1
/
2
. When activated, +48V of phantom power will be supplied to both inputs. Note that most dynamic microphones do
not
require phantom power, while most condenser microphones
do
. Refer to your microphone’s documentation to check if it needs phantom power. 47.
3
/
4 Rec Gain
: Use this knob to adjust the gain of the incoming signal from
Input 3
/
4
on the rear panel. Use the
level meter
to check the recording level. Be careful when setting this knob at higher levels, which can cause the signal to distort. 48.
Master
: Turn this knob to adjust the volume level of the
Main L
/
R outputs
. 49.
Direct
/
Main
: Turn this knob to adjust the balance between the input and output signals in the headphones.
Direct
corresponds to the input signal—all devices connected to the inputs on the front and rear panels. While recording, you can turn this knob all the way to
Direct
for zero-latency direct monitoring.
Main
corresponds to the output signal—the signal sent from the Main L/R outputs on the rear panel. When you are
not
recording, we recommend turning this knob all the way to the
Main
position to hear the full volume playback signal. 50.
Stereo
/
Mono
: Use this switch to set whether the signal in the headphones is binaural (
Stereo
) or monaural (
Mono
). When set to
Stereo
, the headphone signal will be split so that the input signal (
Direct
) is heard in the left ear while the output signal (
Main
) is heard in the right ear. When set to
Mono
, the input and output signals are blended into a single, summed mix, which is heard in both ears. 51.
Rec Arm
: Press this button to arm or disarm recording for the currently selected audio track, shown in the display strip below the
level meters
(see
to learn how to set what is shown in the level meters). 52.
Read
/
Write
: Press this button to set the automation state for the program on the current track or for the current audio track:
Off
,
Read
(green R), or
Write
(red W). The display strip below the
level meters
must show a program or audio track (see
to learn how to set what is shown in
the level meters). 53.
Mute
: Press this button to mute the program, audio track, or master output shown in the display strip below the
level meters
to learn how to set what is shown in
the level meters). 54.
Solo
: Press this button to solo the currently selected program or audio track shown in the display strip below the
level meters
to learn how to set what is shown in the
level meters). 55.
Level Meters
: These meters indicate the level of the audio signal shown in the display strip below them. See
to learn how to set what is shown in the level meters. 13
Touchscreen
Here is some general information about how to use the MPC X touchscreen:
x 2
Tap a button or option to select it. Use the
data dial
or
–
/
+
buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the
data dial
or
–
/
+
buttons). Tap the upper-left part of the screen to return to the previous view. Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out.
The top of the screen shows the toolbar, which contains information about the current view (often the name of the current track, sequence, audio pointer position, etc.). Tap an item to select it. The bottom of the screen shows various buttons that you can use in the current view. Tap a button to press it.
To return to a previous view
, either tap outside of the window currently on the screen or tap the left arrow ( ) in the upper-left part of the screen. 14
Front Panel 1 2 3 4 5 6
1.
2.
3.
SD Card Slot
: Insert a standard SD/SDHC card into this slot to access its files directly using MPC X.
Footswitch Inputs
(
FS 1
/
2
) (1/4” / 6.35 mm): Connect optional 1/4” (6.35 mm) TS footswitches to these inputs.
Instrument Inputs
(
Inst 1
/
2
) (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TS cables to connect these inputs to audio sources (guitars, bass, etc.). To use each of these inputs, set the corresponding
Rear
/
Front
switch (below the
Gain 1
/
2
knob on the top panel) to
Front
. 4.
Mix Knob
: Turn this knob to adjust the balance between the
Main
and
3
/
4
signals in your headphones.
Main
is the signal sent from the
Main L
/
R outputs
.
3
/
4
is the signal sent from the
Outputs 3
/
4
. 5.
Headphone Outputs
(1/8” or 1/4” / 3.5 mm or 6.35 mm): Connect your headphones (not included) to either or both of these standard stereo outputs. Use the
Mix Knob
to determine what signal is heard in the headphones. Turn the
Headphone Volume
knob to set the volume level. 6.
Headphone Volume
: Turn this knob to adjust the volume of the headphone outputs. 15
Rear Panel 9 14 2 6 7 8 11 10 13 12 5 4 1 3
1.
2.
3.
4.
Power Input
: Use the included power adapter to connect MPC X to a power outlet. This must be connected to a power outlet in order for MPC X to power on.
Power Adapter Restraint
: Secure the power adapter cable to this restraint to prevent it from accidentally unplugging.
Power Switch
: Press this button to turn MPC X’s power on or off. While powered on, press and hold this button for 5 seconds to force MPC X to power off (similar to a computer).
USB-B Port
: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on your computer. This connection allows MPC X to send/receive MIDI and audio data to/from the MPC software on your computer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA port to mount on your computer if MPC X is in Controller Mode (i.e., your computer can access these storage devices that are connected to your MPC X). 5.
6.
USB-A Ports
: Connect USB flash drives to these USB ports to access their files directly using MPC X. MPC X supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.) These USB ports supply power to connected USB devices and can also be used to receive MIDI messages from external USB MIDI devices.
Inputs 1
/
2
(XLR or 1/4” / 6.35 mm): Use standard XLR or 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). To use each of these inputs, set the corresponding
Rear
/
Front
switch (below the
Gain 1
/
2
knob on the top panel) to
Rear
. Turn the
Gain 1
/
2
knobs to set the input level of each one.
Note:
When using the XLR connection, the mic pre-amp is automatically engaged. When using a 1/4" (6.35 mm) TRS cable, the mic pre-amp is bypassed. 7.
Inputs 3
/
4
(1/4” / 6.35 mm or RCA): Use standard 1/4” (6.35 mm) TRS cables or stereo RCA cables to connect these inputs to audio sources (mixer, turntable, synthesizer, etc.). To use the 1/4” (6.35 mm) inputs, set the
Phono
/
Line
switch to
Line
. To use the RCA inputs, set the
Phono
/
Line
switch to
Phono
. Turn the
3
/
4 Rec Gain
knob to set their input levels. 8.
Phono
/
Line Switch
: Set this switch to the appropriate position, depending on which
Input 3
/
4
connectors you want to use. If you are using the 1/4” (6.35 mm) inputs, set this switch to
Line
. If you are using the RCA inputs, set this switch to
Phono
to provide the additional amplification needed for phono-level signals. 9.
Grounding Terminal
: If you are sending a phono-level turntable signal to the
Input 3
/
4
RCA connectors and are hearing a low hum or buzz, it could mean that the turntable is not grounded. If the turntable has a grounding wire, connect it to this terminal.
Note
: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to be connected to the grounding terminal. 10.
Main L
/
R Outputs
(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your speaker system. The signal sent out of these outputs is the master mix. Turn the
Master
knob to set their volume.
Tip
: To route a program to these outputs, set its routing to
Out 1,2
in the
Channel Mixer
when the
Mixer
field is set to
Programs
to learn more about this. 11.
Outputs 3
/
4, 5
/
6, 7
/
8
(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to an external mixer. The signal sent from these outputs is full-volume (
0 dB
).
Tip
: To route a program to these outputs, set its routing to
Out 1,2
,
Out 5,6
, or
Out 7,8
(respectively) in the
Channel Mixer
when the
Mixer
field is set to
Programs
. See
to learn more about this. 12.
MIDI In
: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI devices. 13.
MIDI Out
: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI devices. 14.
CV
/
Gate Out
: Use standard 1/8” (3.5 mm) TS cables to connect these outputs to optional external sequencers. MPC X will send control voltage (CV) and/or Gate data over this connection. 16
MPC Live
Top Panel 6 7 6 8 6 9 6 10 4 3 3 5 1 3 11 12 3 13 14 15 16 2 22 20 21 19 17 18 16
1.
3.
Touchscreen
: This full-color multi-touch display shows information relevant to MPC Live’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later
section to learn how to use some basic functions. 2.
Data Dial
: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field on the screen. Pressing the dial also functions as an
Enter
button.
Q-Link Knobs
: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of Q Link knobs. Press the
Q-Link
button to change which parameter or group of parameters they currently control. 4.
Q-Link Button
: Press this button to change which parameter or group of parameters the
Q-Link knobs
currently control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs. Press and hold
Shift
and then press this button to select the previous column of Q-Link knobs instead. Press and hold this button to show the
QLink
window over the touchscreen’s current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode. You can tap
Q-Link Edit
at the bottom of the
window to enter Q-Link Edit Mode immediately (see
to learn about this). 5.
Pads
: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors. 6.
Pad Bank
: Press any of these buttons to access Pad Banks A–D. Press and hold
Shift
while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons. 7.
Note Repeat
/
Latch
: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly. The rate is based on the current tempo and Time Correct settings. Press and hold
Shift
and then press this button to “latch” the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press
Note Repeat
once more to unlatch it. 17
8.
Full Level
/
Half Level
: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (
127
), regardless of how much force you use. Press and hold
Shift
and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (
64
). 9.
16 Level
: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit 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 screen that appears, use the
Type
selector to choose the parameter:
Velocity
,
Tune
,
Filter
,
Layer
,
Attack
, or
Decay
. See
to learn more. 10.
Erase
: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See
11.
Shift
: Press and hold this button to access some buttons’ secondary functions (indicated by
gray
writing). Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds. 12.
Menu
/
Browse
: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.
Press and hold
Shift
and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc. 13.
Main
/
Track
: Press this button to enter Main Mode. Press and hold
Shift
and then press this button to enter the Track View. 14.
Undo
/
Redo
: Press this button to undo your last action. Press and hold
Shift
and press this button to redo the last action you undid. 15.
Copy
/
Delete
: Press this button to copy one pad to another. When the
From Pad
field is selected, press the “source” pad (the pad you want to copy). When the
To Pad
graphic (of all pads) is selected, press the “destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It
to continue or
Close
to return to the previous screen.
Tip
:
To quickly copy a pad
, press and hold
Copy
, press the source pad, press the destination pad, and then release
Copy
. Press and hold
Shift
and press this button to delete a pad’s sample assignment. When the
Delete Pad
window is shown, press any pad/pads whose sample assignments you want to clear. Tap
Delete
to continue or
Cancel
to return to the previous screen. 16.
–
/
+
: Press these buttons to increase or decrease the value of the selected field on the screen. 17.
Play
: Press this button to play the sequence from the audio pointer’s current position. 18.
Play Start
: Press this button to play the sequence from its start point. 19.
Stop
: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all voices and stop all audio processing. 20.
Rec
: Press this button to record-arm the sequence. Press
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. 21.
Overdub
: Press this button 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. 22.
Tap
/
Master
: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see
to learn how to do this). Press and hold
Shift
and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit
red
) or a master tempo (the button will be lit
amber
). 18
Touchscreen
Here is some general information about how to use the MPC Live touchscreen:
x 2
Tap a button or option to select it. Use the
data dial
or
–
/
+
buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the
data dial
or
–
/
+
buttons). Tap the upper-left part of the screen to return to the previous view. Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out.
The top of the screen shows the toolbar, which contains information about the current view (often the name of the current track, sequence, audio playhead position, etc.). Tap an item to select it. The bottom of the screen shows various buttons that you can use in the current view. Tap a button to press it.
To return to a previous view
, either tap outside of the window currently on the screen or tap the left arrow ( ) in the upper-left part of the screen. 19
Rear Panel 17 12 6 3 8 14 13 13 13 7 11 10 9 16 15 5 4 1 2
1.
2.
3.
Power Input
: Use the included power adapter to connect MPC Live to a power outlet.
Power Switch
: Turns MPC Live’s power on/off.
Charging Indicator
: This light (behind the vent) will turn on when MPC Live’s internal battery is charging (when the power input is connected to a power outlet). When the battery is fully charged or when it is disconnected from a power outlet, then this light will turn off. 4.
USB-B Port
: Use the included USB cable to connect this USB 3.0 port to an available USB 3.0 port on your computer. This connection allows MPC Live to send/receive MIDI and audio data to/from the MPC software on your computer. It also allows any connected USB drives, SD cards, and drives connected to the internal SATA port to mount on your computer if MPC Live is in Controller Mode (i.e., your computer can access these storage devices that are connected to your MPC Live). 5.
USB-A Ports
: Connect USB flash drives to these USB ports to access their files directly using MPC Live. MPC Live supports read and write capability for exFAT, FAT32, NTFS, and EXT4 file systems as well as read-only capability for HFS+ file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.) These USB ports supply power to connected USB devices and can also be used to receive MIDI messages from external USB MIDI devices. 6.
7.
SD Card Slot
: Insert a standard SD/SDHC card into this slot to access its files directly using MPC Live.
Rec Vol
: Turn this knob to adjust the gain of the incoming signal from the 1/4” (6.35 mm) and RCA
inputs
. Be careful when setting this knob at higher levels, which can cause the signal to distort. 8.
9.
Master Vol
: Turn this knob to adjust the volume of
Output 1
/
2
and the
phones output
.
Inputs
(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). To use these inputs, set the
Line
/
Phono switch
to
Line
. Turn the
Rec Vol
knob to set their input levels. 10.
Inputs
(RCA): Use a standard RCA stereo cable to connect these inputs to a phono-level audio source like a turntable. To use these inputs, set the
Line
/
Phono switch
to
Phono
. Turn the
Rec Vol
knob to set their input levels. 11.
Line
/
Phono Switch
: Set this switch to the appropriate position, depending on which inputs you want to use. If you are using the RCA inputs, set this switch to
Phono
to provide the additional amplification needed for phono level signals. If you are using the 1/4” (6.35 mm) inputs, such as a keyboard or a sampler, set this switch to
Line
. 12.
Grounding Terminal
: If using phono-level turntables with a grounding wire, connect the grounding wire to these terminals. If you experience a low “hum” or “buzz”, this could mean that your turntables are not grounded.
Note
: Some turntables have a grounding wire built into the RCA connection and, therefore, nothing needs to be connected to the grounding terminal. 13.
Outputs
(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your speaker system, external mixer, etc. The signal sent out of the
Master L
/
R
outputs is the master mix. Turn the
Master Vol
knob to set their volume. The signals sent from Outputs 3–6 are full-volume (
0 dB
).
Tip
: To route a program to these outputs, set its routing to
Out 1,2
,
Out 3,4
, or
Out 5,6
(respectively) in the
Channel Mixer
when the
Mixer
field is set to
Programs
. See
to learn more about this. 14.
Phones
(1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output. Turn the
Master Vol
knob to set the volume level. 15.
MIDI In
: Use standard 5-pin MIDI cables to connect these inputs to the MIDI outputs of optional external MIDI devices. 16.
MIDI Out
: Use standard 5-pin MIDI cables to connect these outputs to the MIDI inputs of optional external MIDI devices. 17.
Kensington
®
Lock Slot
: You can use this slot to secure your MPC Live to a table or other surface. 20
MPC Touch
Top Panel 7 8 9 7 10 7 11 7 5 4 1 4 2 6 4 12 13 14 15 16 17 4 3 23 21 22 20 18 19 17
1.
Touchscreen
: This full-color multi-touch display shows information relevant to MPC Touch’s current operation. Touch the touchscreen (and use the hardware controls) to control the MPC interface. See the later
section to learn how to use some basic functions. 2.
Display Brightness +
/
–
: Use these buttons to increase/decrease the brightness of the touchscreen. 3.
Data Dial
: Use this dial to scroll through the available menu options or adjust the parameter values of the selected field in the screen. 4.
Q-Link Knobs
: Use these touch-sensitive knobs to adjust various parameters and settings. The knobs can control one group of parameters at a time. The lights below the Q-Link button indicate the currently selected column of Q Link knobs. Press the
Q-Link
button to change which parameter or group of parameters they currently control. 5.
Q-Link Button
: Press this button to change which parameter or group of parameters the
Q-Link knobs
currently control (indicated by the lights above the Q-Link knobs). Each press will select the next column of Q-Link knobs. 7.
Press and hold
Shift
and then press this button to select the previous column of Q-Link knobs instead. Press and hold this button to show the
QLink
window over the touchscreen’s current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode. You can tap
Q-Link Edit
at the bottom of the
window to enter Q-Link Edit Mode immediately (see
to learn about this). 6.
Pads
: Press these pads to trigger drum hits or other samples in your software. The pads are velocity-sensitive and pressure-sensitive, which makes them very responsive and intuitive to play. The pads will light up different colors, depending on how hard you play them (ranging from yellow at a low velocity to red at the highest velocity). You can also customize their colors.
Pad Bank
: Press any of these buttons to access Pad Banks A–D. Press and hold
Shift
while pressing any of these buttons to access Pad Banks E–H. Alternatively, double-press one of these buttons. 8.
Note Repeat
/
Latch
: Press and hold this button, and then press a pad to trigger that pad’s sample repeatedly. The rate is based on the current tempo and Time Correct settings. Press and hold
Shift
and then press this button to “latch” the Note Repeat feature. When latched, you do not have to hold the Note Repeat button for it to be activated. Press
Note Repeat
once more to unlatch it. 21
9.
Full Level
/
Half Level
: Press this button to activate or deactivate the Full Level feature. When activated, the pads will always trigger their samples at the maximum velocity (
127
), regardless of how much force you use. Press and hold
Shift
and then press this button to activate or deactivate the Half Level feature. When activated, the pads will always trigger their samples at half-velocity (
64
). 10.
16 Level
: Press this button to activate/deactivate 16 Level. When activated, the last pad that was hit 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 screen that appears, use the
Type
selector to choose the parameter:
Velocity
,
Tune
,
Filter
,
Layer
,
Attack
, or
Decay
. See
to learn more. 11.
Erase
: As a sequence is playing, press and hold this button and then press a pad to delete the note event for that pad at the current playback position. This is a quick way to delete note events from your sequence without having to stop playback. See
12.
Shift
: Press and hold this button to access some buttons’ secondary functions (indicated by
gray
writing). Double-press this button to see which buttons have secondary functions—the buttons will flash for a few seconds. 13.
Menu
/
Browse
: Press this button to open the Menu. You can tap an option in the Menu to enter that mode, view, etc.
Press and hold
Shift
and then press this button to view the Browser. You can use the Browser to locate and select programs, samples, sequences, etc. 14.
Main
/
Track
: Press this button to enter Main Mode. Press and hold
Shift
and then press this button to enter the Track View. 15.
Undo
/
Redo
: Press this button to undo your last action. Press and hold
Shift
and press this button to redo the last action you undid. 16.
Copy
/
Delete
: Press this button to copy one pad to another. When the
From Pad
field is selected, press the “source” pad (the pad you want to copy). When the
To Pad
graphic (of all pads) is selected, press the “destination” pad. You can select multiple destination pads, and you can select pads in different pad banks. Tap
Do It
to continue or
Close
to return to the previous screen.
Tip
:
To quickly copy a pad
, press and hold
Copy
, press the source pad, press the destination pad, and then release
Copy
. Press and hold
Shift
and press this button to delete a pad’s sample assignment. When the
Delete Pad
window is shown, press any pad/pads whose sample assignments you want to clear. Tap
Delete
to continue or
Cancel
to return to the previous screen. 17.
–
/
+
: Press these buttons to increase or decrease the value of the selected field in the screen. 18.
Play
: Press this button to play the sequence from the audio pointer’s current position. 19.
Play Start
: Press this button to play the sequence from its start point. 20.
Stop
: Press this button to stop playback. You can double-press this button to silence audio that is still sounding once a note stops playing. Quickly pressing this button three times will act as a “MIDI panic” and shut off all voices and stop all audio processing. 21.
Rec
: Press this button to record-arm the sequence. Press
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. 22.
Overdub
: Press this button 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. 23.
Tap
/
Master
: Press this button in time with the desired tempo to enter a new tempo (in BPM). You can set how many taps are required in the Preferences (see
to learn how to do this). Press and hold
Shift
and press this button to set whether the currently selected sequence follows its own tempo (the button will be lit
red
) or a master tempo (the button will be lit
amber
). 22
Touchscreen
Here is some general information about how to use the MPC Touch touchscreen:
x 2
Tap a button or option to select it. Use the
data dial
or
–
/
+
buttons to change its setting or value Double-tap a button to access advanced editing options. In some cases, this will show a numeric keypad that you can use to enter a value (an alternative to the
data dial
or
–
/
+
buttons). Tap the upper-left part of the screen to return to the previous view. Spread two fingers to zoom in (into a section of a waveform, for example). Pinch two fingers to zoom out.
The top of the screen shows the toolbar, which contains information about the current view (often the name of the current track, sequence, audio playhead position, etc.). Tap an item to select it. The bottom of the screen shows various buttons that you can use in the current view. Tap a button to press it.
To return to a previous view
, either tap outside of the window currently in the screen or tap the left arrow ( ) in the upper-left part of the screen. 23
Rear Panel 2 1 3 4 6 7 8 5 9 10 11
1.
Power Input
: Use the included power adapter to connect MPC Touch to a power outlet. Alternatively, you can power MPC Touch via the USB port only, but the touchscreen will be disabled. 2.
3.
Power Switch USB Port
: Turns MPC Touch’s power on/off. : Use the included USB cable to connect this high-retention-force USB port to an available USB port on your computer. This connection allows MPC Touch to send/receive MIDI and audio data to/from the MPC software. 5.
6.
You can power MPC Touch via the USB port only, but the touchscreen will be disabled. 4.
Rec Vol
: Turn this knob to adjust the gain of the incoming signal from the
inputs
. Be careful when setting this knob at higher levels, which can cause the signal to distort.
Master Vol Inputs
: Turn this knob to adjust the volume of the
outputs
and
phones output
. (1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these inputs to audio sources (microphone, mixer, synthesizer, etc.). Turn the
Rec Vol
knob to set their input levels. 7.
Outputs
(1/4” / 6.35 mm): Use standard 1/4” (6.35 mm) TRS cables to connect these outputs to your speaker system, external mixer, etc. The signal sent out of these outputs is the master mix. Turn the
Master Vol
knob to set the volume level.
Tip
: To route a program to these outputs, set its routing to
Out 1,2
in the
Channel Mixer
when the
Mixer
field is set to
Programs
. See
to learn more about this. 8.
Phones
(1/8” / 3.5 mm): Connect standard 1/8” (3.5 mm) stereo headphones to this output. Turn the
Master Vol
knob to set the volume level. 9.
MIDI Out
(1/8” / 3.5 mm): Use the included 1/8”-to-5-pin adapter and a five-pin MIDI cable to connect this output to the MIDI input of an optional external MIDI device.
Important
: Do
not
connect audio devices (e.g., headphones, monitors, etc.) to the
MIDI Out
. Use the included 1/8”-to-5-pin adapters to connect MIDI devices only. 10.
MIDI In
(1/8” / 3.5 mm): Use the included 1/8”-to-5-pin adapter and a five-pin MIDI cable to connect this input to the MIDI output of an optional external MIDI device.
Important
: Do
not
connect audio devices (e.g., headphones, monitors, etc.) to the
MIDI In
. Use the included 1/8”-to-5-pin adapters to connect MIDI devices only. 11.
Kensington
®
Lock Slot
: You can use this slot to secure your MPC Touch to a table or other surface. 24
Basic Concepts
This chapter should help explain some fundamental aspects of the MPC universe. The MPC workflow is quite different from traditional digital audio workstations (DAWs). In most typical DAWs, each track uses an instance of each instrument, and all tracks are always playing even if they don’t contain any audio or MIDI information. Furthermore, your entire project needs to be arranged just as the resulting song would be. This isn’t the case with MPC, which offers much more flexibility within your project. It’s important to understand some basic terms, though: A
sequence
is a “building block” of a song. It contains multiple tracks that play at the same time like a normal DAW. In a project, you might create one sequence for your verse and another sequence for your chorus, alternating and/or repeating each one in a specific order to create the song. (A project can contain
128 sequences
.) A
track
is a layer in a sequence. There are two types of tracks:
MIDI tracks
consist of MIDI data only, no audio data. These tracks produce sound by using
programs
, described below. Unlike a normal DAW, each MIDI track exists only in its sequence. The advantage of this is not having to manage empty or unwanted tracks across all of your sequences—each sequence contains only the tracks you want to use in it. If you want to use the same track across multiple sequences, you can copy the track from one sequence into another. (A sequence can contain
128 MIDI tracks
.)
Audio tracks
consist of a recorded audio signal, like a traditional DAW. These tracks do
not
use programs because the audio is already contained in the track. Also, unlike MIDI tracks, audio tracks are present in every sequence in the project, even if the tracks themselves are empty. (A sequence on your MPC hardware can contain
8 audio tracks
. A sequence in the MPC software can contain
128 audio tracks
.) A
program
is a preset through which MIDI tracks are routed. Programs may contain audio samples that are triggered when tracks play through them, producing the sound you want on that track. Programs are independent of tracks and sequences, so you can set multiple tracks to use the same program (unlike normal DAWs where each track requires its own set of samples). Furthermore, you can use the same program/programs across multiple sequences. (A project can contain
128 programs
.) Each program can be played using the
16 pads
(across eight pad banks, which gives you access to
128 pads in each program
). Each pad plays a MIDI note when you press it, but that MIDI note will trigger something different for each program. For instance, in drum programs, the pads are assigned to samples—one pad could trigger a kick drum sound and another could trigger a snare drum sound—whereas in keygroup programs, each pad triggers a MIDI note that plays the corresponding pitch of the sample assigned to its keygroup. Here’s a diagram to illustrate an example of how these pieces could work together:
Sequence Drum Program
(Drums)
Track
(MIDI: Drums)
Track
(MIDI: Bass)
Keygroup Program
(Bass)
Track
(MIDI: Keys 1)
Keygroup Program
(Keys)
Track
(MIDI: Keys 2)
Track
(MIDI: Synth)
Keygroup Program
(Synth Lead)
Track
(Audio: Vocals)
Track
(Audio: Vocals)
Track
(Audio: Guitar) Mixing
Please take a look at the following
chapter, as well. It will walk you through the creation of a short song to show you some of your MPC hardware’s most important features. 25
Tutorial
This chapter should familiarize you with some basic MPC features. We’ll create a short song to illustrate some of the most important features. To get the most out of this chapter, we recommend reproducing each of the described steps.
Starting Up
Make sure you have completed all of the steps described in
• • Installing the most current drivers and software. Connecting your MPC hardware to a power source using the included power adapter (if required) and powering it on. • Opening and authorizing your MPC software (if you are using your MPC hardware as a controller).
Creating a Drum Kit
Let’s start by making a simple drum kit. Press
Browse
(MPC X) or
Shift
+
Menu
/
Browse
(MPC Live, MPC Touch) to show the Browser. Then, use the touchscreen to navigate to where your drum sounds are located:
To browse your files by location
, tap
Places
on the left side of the screen.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
Important
: MPC X and MPC Live support read and write capability for
exFAT
,
FAT32
,
NTFS
, and
EXT4
file systems as well as read-only capability for
HFS+
file systems. (We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.)
To browse your files by type
, tap
Content
and then tap the type of file:
Drums
,
Instruments
,
Clips
,
Samples
,
Demos
, or
My Files
.
To browse your MPC Expansions
(MPC X or MPC Live only), tap
Expansions
to learn how to export MPC Expansions from your computer
to your MPC X or MPC Live).
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To move through a list
, swipe up or down, turn the
data dial
or use the
–
/
+
buttons.
To select a file or folder
, tap it once.
To enter a folder
, double-tap it or tap
Open
in the lower-right corner. Alternatively, press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a selected folder. 26
To load a selected file
, double-tap it, tap
Load
, or press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch). If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project).
To load all files in a folder
, select the folder (so it is highlighted in the list), press and hold
Shift
, and then tap
Load All
in the lower-right corner.
Important
: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
To delete a selected file or folder
, press and hold
Shift
and then tap
Delete File
at the bottom of the screen.
To preview a selected sound
, tap and hold
Play
( ) at the bottom of the screen.
To enable or disable the audition function and set its volume level
, tap
Audition
at the bottom of the screen. In the screen that appears, tap
Auto
to enable or disable it, and tap and drag the
level slider
up or down to set the volume level. Tap
Audition
once more to hide the window.
To show the information for the current drive
(MPC X, MPC Live), press and hold
Shift
and then tap
Drive Info
at the bottom of the screen. The drive’s information will appear in a new window. Tap
OK
to return to the previous screen. After loading samples for a drum kit into the sample pool, use the
Sample Assign
tab to assign a kick drum sound to a pad: 1.
Tap
Sample Assign
at the bottom of the screen. This lets you view the pads and project’s sample pool. 2.
Press
Pad 1
or tap pad will be lit green.
Pad 1
on the screen to select it. The 3.
Swipe the
Sample Pool
list up or down or use the
data dial
or
–
/
+
buttons to move through it. 4.
To load a sample to the selected pad
(
Pad 1
, in this case) tap it in the
Sample Pool
list, or press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch). Now, you can press
Pad 1
to play the kick drum sample.
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. 27
Creating a Drum Sequence
Now that your drum kit is set up, let’s record a drum sequence. 1.
Press
Menu
to enter the Menu, and then tap
Grid View
. 2.
Press
Tap
repeatedly at the speed you want to record your sequence. Your MPC hardware will detect the rate and adjust itself automatically. 3.
4.
Press the
Rec
button to record-arm the sequence. Press the
Play
button to start the actual recording. You will hear the count-in for one measure before the recording starts. We recommend recording only one sound (pad) at a time, especially if you’re not familiar with playing drums on the pads. 5.
Play a simple kick 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 automatically activate Overdub; the sequence will play 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 the
Stop
button. If you start recording again on this sequence, keep in mind that the pads you play in your new recording will replace existing notes played with the same pads. To prevent this, press the
Overdub
button before recording instead of the Rec button. Overdub lets you record additional note events over the existing sequence. The
Undo
button functions differently while recording. 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 pressed). 28
Saving & Renaming
We recommend doing some renaming of your programs and samples before going further. The collection of drum samples you loaded earlier (and their respective pad assignments) are arranged into a program. When you load this program in the future, you will be able to use all of the samples that belong to it. Let’s rename the existing program as we’ll want to create more programs later on.
To rename a program
: 1.
Press
Main
to enter Main Mode. 2.
3.
In the
Program
section in the lower part of the screen, tap the
cursor icon
Use the virtual keyboard that appears to enter a new name (e.g.,
Drums
on the right edge. ), and then tap
Do It
.
To rename your samples
: 1.
Press
Menu
to enter the Menu, and then tap
Sample Edit
to enter Sample Edit Mode. 2.
The
Sample
field at the top of the screen will show the name of a sample. Select a sample in one of the following ways: 3.
4.
• • When the
Sample
Double-tap the field is selected, use the
Sample data dial
or
–
/
+
buttons to change it. field and tap one in the list that appears. Tap the
keyboard icon
next to it to rename the current sample. Use the virtual keyboard that appears to enter a new name (e.g.,
Kick
,
Snare
, etc.), and then tap
Do It
. Repeat Steps 2–4 to rename other samples. 29
Now would be a good time to save your project.
To save your project
, press
Menu
to show the Menu, and tap the
disk icon
at the top of the screen to open the
Save
window. Alternatively, press
Shift
+
Browse
/
Save
(MPC X). In the Save window, do any of the following:
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 30
Editing Note Events
In the grid, you can see your recorded notes (or note events) as a sequence.
To enter the Grid View
, press
Menu
, and then tap
Grid View
. In the Grid View, you can do any of the following:
To zoom in or out
, tap the
magnifying-glass icon
in the upper-right corner. Then, in the grid, spread two fingers apart or pinch two fingers together. You can do this for each axis, horizontal or vertical.
To automatically set the grid to view one pad bank and two bars
, tap the
grid-and-magnifying-glass icon
in the lower-left corner.
To undo your last action
, press
Undo
.
To redo the last action you undid
, press
Shift
+
Undo
/
Redo
.
To enter a note
, tap the
pencil icon
in the upper-right corner. Then, in the grid, tap a square.
To delete a note
, tap the
eraser icon
in the upper-right corner. Then, in the grid, tap a note.
To select a single note
, tap the
select box
in the upper-right corner. Then, in the grid, tap the note.
To select all notes for a pad
, press the desired
pad
.
To move the selected notes
, tap
Nudge
at the bottom of the screen, and then use the
data dial
or
–
/
+
buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the
Time Correct
value (learn about this feature in
).
To move the selected notes without restricting
(“snapping”)
them to the quantization grid
, tap and hold
Don’t Snap
in the lower-left corner of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the notes. In this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected notes
(without changing their position), tap
Edit Start
or
Edit End
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons.
To transpose the selected notes up or down
, tap
Transpose
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons.
To switch to the previous or next track
, tap the
Track
field in the upper-left corner, and then use the
data dial o
r
–
/
+
buttons.
To mute or solo the track
, press and hold
Shift
, and then tap
Mute
or
Solo
(respectively) at the bottom of the screen. 31
To open the Timing Correct window
, press and hold
Shift
, and then tap
TC
at the bottom of the screen. See
To adjust the velocity of the selected notes
, tap
Velocity
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons. The numeric value will appear on the screen.
To show or hide the velocity lane
the bar is, the higher the velocity is. , tap the
up arrow
( ∧ ) button in the lower-right corner of the screen to show the velocity lane below the grid. Each note’s velocity is represented by a vertical bar. The higher and more red Tap the
up arrow
( ∧ ) button once more to show a taller version of the velocity lane after which it will turn into a
down arrow
( ∨ ) button, which you can then tap to hide the velocity lane. 32
Making Basic Sound Edits
Let’s make sure the samples are properly tuned and have good levels. Press
Menu
, and then tap
Program Edit
to enter Program Edit Mode. Alternatively, press
Prog Edit
(MPC X). Press a pad to show its parameters on the screen.
To adjust its volume
, tap and drag the
Volume
knob up or down. Alternatively, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the knob and adjust the larger version that appears. Tap anywhere else to return to the previous screen.
To adjust its stereo panning
, tap and drag the
Pan
knob up or down. Alternatively, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the knob and adjust the larger version that appears. Tap anywhere else to return to the previous screen. 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 kick drum sound—tap the
Samples
tab so the first square under it is lit, and then adjust the
Semi
and
Fine
knobs next to the sample name. 33
The snare drum may need some reverb to give it a more spatial sound. Tap
Effects
at bottom of the screen to view the
Insert Effects
tab. Press the
pad
with your snare drum sound to select it.
To add an effect
: 1.
Double-tap the desired slot. A list of effects will appear. 2.
3.
Swipe up or down to move through the list.
To load an effect Reverb Medium
. , double-tap it. Alternatively, tap it once and then tap
Select
or push the
data dial
. Let’s try 4.
To close the list
, tap
Close
.
To adjust the effect’s parameters
, tap the
pencil icon
.
To empty the effect slot
, tap the
trash can icon
. Switch the effect on or off by tapping the
On
/
Off
button for the slot. 34
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
: 1.
2.
Press
Main
to go back to Main Mode. Double-tap the that appears.
Track
field in the center-left part of the screen, and then tap
Track 2
(
unused
) in the list of tracks Alternatively, tap the
Track +
button at the bottom of the screen until (
unused
) appears in the
Track
field. Let’s create a new program for this track to use.
To create a new program
: 1.
In the
Track
section in the middle of the screen, tap the
piano-keys icon
. This icon indicates a keygroup program, which is necessary to play the bass sound chromatically with the pads. A name for the new keygroup program will appear in the
Program
field in the lower part of the screen. 2.
3.
In the
Program
section in the lower part of the screen, tap the
cursor icon
Use the virtual keyboard that appears to enter a new name, and then tap on the right edge.
Do It
. 35
To load and edit a bass sound
: 1.
Press
Browse
(MPC X) or
Shift
+
Menu
/
Browse
(MPC Live, MPC Touch) to show the Browser. Then, use the touchscreen to navigate to where your bass sounds are located, and load one to the project’s sample pool. (You
if you forgot how to do this!) 2.
After loading a bass sample to the sample pool, drum program; keygroup programs are different.
don’t
use the Sample Assign tab like you did when creating a 4.
Instead, press
Menu
, and then tap
Program Edit
to enter Program Edit Mode. Alternatively, press
Prog Edit
(MPC X). 3.
In Program Edit Mode, tap the
Samples
tab at the bottom of the screen to show the four layers of samples in the program. Double-tap the first
Layer
field and then tap your bass sample in the list on the left. Because you’re working with a keygroup program instead of a drum program, this sample is now playable across
all
pads.
Tip
: On your MPC hardware, press the
Pad Bank D
button to switch to Pad Bank D and press
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. 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.
Press
Browse
(MPC X) or
Shift
+
Menu
/
Browse
(MPC Live, MPC Touch) to show the Browser, 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, and in the
Layer
tab, double-tap the second
Layer
field, and select the new bass sample. Press 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.
4.
Tap the Tap
Pan Velocity Layer 1
’s
Vel End
tab to show its parameters. knob and turn the
data dial
to set it to
80
. Do the same to set
Layer 2
’s
Vel Start
slider 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. 36
Let’s record that bass line now. Prepare your recording as described earlier, and record some bass notes. You can edit your recording just like we’ve done earlier. Once you’ve recorded it, let’s tweak the sound a bit in the
Filter
section: 1.
In Program Edit Mode, tap the
Filter
/
Env
tab to show its parameters. 2.
3.
Double-tap the Tap the
Cutoff Type
or
Reso
sounds good to you. drop-down menu, and select a filter. Let’s try working with (resonance) knob, and turn the
data dial Lowpass 4 Pole
. to adjust their settings until your bass sample 4.
In the
Amp Envelope
section, tap the
Attack
or
Release
These control the overall level characteristics of the sound. knob, and turn the
data dial
to adjust their settings. Do you want to add an effect? Do this in the
Effects
tab: 1.
Tap the
Effects
tab to show the insert effects. 2.
3.
Double-tap one of the
Inserts
slots to show a list of available effects. Double-tap the effect you want to add to your bass line, or click
Close
to cancel.
To adjust the settings of the effect
, click the
pencil icon
next to its slot to open a window that shows its parameters.
To activate or deactivate all insert effects for that program
, click the
All On
/
All Off
button in the upper-right corner. 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. 37
Recording an Audio Track
We’ve already created some MIDI tracks, so let’s record some actual audio for our next track: 1.
Press
Main
to go back to Main Mode. 2.
3.
Tap the
Audio
tab at the bottom of the screen.
Audio 001
will appear in the If the channel strip is not already shown on the left side of the screen, tap
Input Config
screen) or the small
eye icon
(in the upper-left part of the screen) to show it.
Track
field. (in the lower part of the 4.
Connect a synthesizer or other line-level audio source to the 1/4” (6.35 mm) hardware’s rear panel, and set the
Line
/
Phono
selector to
Line
(MPC X, MPC Live).
input
/
inputs
on your MPC 5.
Double-tap the first field ( source.
Input
__) and select
Input 1
or
Input 1,2
(depending on your audio source) as the input 6.
7.
If the second field is not set to
Out 1
,
2
, double-tap it and select that option as the output. Tap the
Monitor
button to cycle through its three states until it reads
Auto
(you will hear incoming audio while the track is record-enabled only). 8.
Turn the
3
/
4 Rec Gain
(MPC X) or
Rec Vol
(MPC Live, MPC Touch) 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
Solo
and
Mute
are on, tap or press them so they are
off
. Also, tap the
automation button
so it is
off
/
gray
(not
green
/
Read
[
R
] or
red
/
Write
[
W
]). Alternatively, press
Read
/
Write
(MPC X). 10.
Tap the
Record Arm
button to record-enable the track. Alternatively, press
Rec Arm
(MPC X). 11.
Press
Rec
to record-arm the sequence. 12.
To start recording
, press
Play
or
Play Start
—then play your audio source! You should hear your existing sequence playing in the background.
To stop recording
, press
Stop
. Record another audio track for your other sequence: Select the other sequence in Main Mode, and create another audio track (
Audio 002
) to go with that sequence. 38
Creating a Song
This section explains how to make a song out of your sequences. Before starting, make sure that you have recorded
some sequences (which we described
).
To enter Song Mode
, make sure playback is stopped, and then press
Menu
, and then tap
Song
to enter Song Mode. Alternatively, press
Song
(MPC X). In Song Mode, each of the sequences you’ve created in this project assigned to a pad. The sequence playlist is to the left of the pads, showing the song’s structure. 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
Repeat
column (the
repeat icon
; a value of
1
means the sequence will play through only once). The
Bars
column on the right indicates the length of that sequence. 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
chapter. We recommend tapping the
Seq
/
Mst
button at the top of the screen (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
, tap
Insert
.
To delete the currently selected step
, tap
Delete
.
To set which sequence plays for a step
, tap the step’s
Sequence
field, and then turn the
data dial
to select a sequence.
To set how many times a sequence repeats
, tap the step’s
Repeat
field (next to the sequence name), and then turn the
data dial
to select a number. 39
Exporting the Song
Want to share your new song? Just export it first.
To export a song
: 1.
While in Song Mode, tap
Export
at the bottom of the screen. 2.
In the
Audio Mixdown
screen that appears, do the following: • • • Make sure the Tap the
Start Audio Tail
field is set to
1
, and set the field and turn the
data dial
As you’ll likely share the song online, tap the
End
to set it to
mp3
field to the last bar of your song.
2
seconds. file format option in the lower-left corner. 3.
Tap
Export
. Choose where you want to save the song.
To name the song
, tap the
File Name
field, and use the virtual keyboard that appears to enter a new name, and then tap
Save
to start exporting. 40
Other Features Explained
This chapter describes various advanced features. For a fuller explanation of these features, please refer to their corresponding sections in the
chapter.
Step Sequencer
You’ve already learned how to record note events on a track, but you can quickly enter note events in the Step Sequencer by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine.
To enter the Step Sequencer
, press
Menu
, and then tap
Step Sequencer
. Alternatively, in some modes, you can tap the
steps icon
on the left edge of the screen. You can also press
Step Seq
(MPC X). 1.
Let’s create a sequence on a new track. Tap the
Track
field in the upper-left corner, and then use the
data dial
or
–
/
+
buttons to select an (
unused
) track. Alternatively, double-tap the
Track
field, and then tap a track to select it. 2.
Tap the
Track Length
field at the top of the screen to set a length for the track, and then use the
data dial
or the
–
/
+
buttons to select a length. If you select the minimum value,
Sequence
, the track will be however long your sequence is. 4.
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. 3.
Tap the
Bar –
/
+
buttons at the bottom of the screen to select the bar whose steps you want to create or edit. The bar number will appear in the
Bar
field in the upper-left corner. Tap the
Pad –
/
+
buttons at the bottom of the screen to select the pad whose steps want to create or edit. The pad number will appear in the
Pad
field in the upper-left corner. 5.
6.
Press
Play
to start your sequence. Each pad represents a step in the bar. If the pad already has note events on the selected track, the corresponding pads (steps) will be lit with colors corresponding to their velocities.
To enter a note at a step
, press an
unlit pad
. The pad will light up with a color corresponding to its velocity.
To delete the note from a step
, press a
lit pad
. The pad will become unlit.
To delete all notes from the entire bar
, press and hold
Shift
, and then tap
Clear Bar
in the lower-right corner.
to learn more about this feature. 41
Drum Loops & Chop Mode
Modern music producers often use drum loops to add grit and nuance to programmed beats. This section explains how to use Sample Edit Mode to work with drum loops. Use the Browser to locate a drum loop, and then double-tap it to add it to the current program. The loop does not have to match the tempo of anything in the project.
To enter Sample Edit Mode
, press
Menu
, and then tap
Sample Edit
to enter Sample Edit Mode. Alternatively, press
Sample Edit
(MPC X). 1.
Tap the
Sample
field at the top of the screen, and then use the
data dial
or
–
/
+
buttons to select the loaded drum loop. You can scroll through all loaded samples in the project. Alternatively, double-tap the
Sample
field, and then tap a sample to select it. 2.
Tap the
Trim
/
Chop
tab in the lower-left corner to switch between Trim Mode and Chop Mode. Select Chop Mode, which will let us cut the drum loop into slices. 3.
Tap
Threshold
, and then tap the
Threshold
field to the right of it. Use the
data dial
,
–
/
+
buttons, or
numeric keypad
(MPC X) to select a value. Alternatively, double-tap the
Threshold
field and use the numeric keypad on the screen. 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. 42
Let’s use this chopped sample to create a new program in which each of these slices is an individual sample. We can also automatically create corresponding note events to play back these slices sequentially. 1.
Press and hold
Shift
and then tap
Convert
at the bottom of the screen to enter the
Convert or Assign Slices
window. 2.
Tap the
Convert To
field, and then use the
data dial
or
–
/
+
buttons to select
New Program with New Samples
. 3.
Make sure
Crop Samples
is checked. If it is not, tap it. 4.
5.
6.
Make sure Make sure
Create New Program Create Events
is checked. If it is not, tap it. is checked. If it is not, tap it. Tap the
Bars
field, and then use the
data dial
or
–
/
+
buttons to select how many bars the entire sample should use in your program. 7.
Tap
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. Press
Menu
and then tap
Grid View
to see how the sample appears in your sequence. 8.
Press
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—enter Main Mode to do this. A new track with the note events playing their corresponding slices has been automatically created. Tap the
TC
/
clock icon
at the top of the screen to use the
Timing Correct
window to quantize the note events so they fall on exact, even time intervals. You can also rearrange the note events, thus creating a new playback order for the slices. You can also edit each slice or sample in Program Edit Mode. 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.
to learn more about this feature. 43
Pad Muting & Track Muting
Pad Mute Mode and Track Mute Mode let you silence different pads and tracks to see what the sequence sounds like without those samples or parts.
To enter Pad Mute Mode
, press
Menu
, and then tap
Pad Mute
to enter Pad Mute Mode. Alternatively, press
Shift
+
Track Mute
/
Pad Mute
(MPC X). 1.
2.
Press
Play
to play the sequence. Tap the
Program
field at the top of the screen, and then use the
data dial
or
–
/
+
buttons to select your drum program. Alternatively, double-tap the
Program
field, and then tap a program to select it. 3.
Mute a pad by pressing it once or tapping it on the screen. The muted pad will be lit pads at the same time.
red
. You can mute multiple
to learn more about track mutes.
44
You can also mute entire tracks by using the similar Track Mute function.
To enter Track Mute Mode
, press
Menu
, and then tap
Track Mute
to enter Track Mute Mode. Alternatively, press
Track Mute
(MPC X). 1.
2.
Press
Play
to play the sequence. Tap the
Sequence
field at the top of the screen, and then use the
data dial
or
–
/
+
buttons to select the desired sequence. Alternatively, double-tap the
Sequence
field, and then tap a sequence to select it. 3.
Each pad is assigned to a track. Mute a track by pressing the corresponding pad or tapping it on the screen. 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), tap
Time Division
to set a musical timing value. Tap the desired musical value (e.g.,
1 Bar
). Alternatively, use the
data dial
or
–
/
+
buttons. Tap
Close
to close the page. Now, when you press 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.
to learn more about track mutes. 45
Sampling
(
Recording
) This section describes recording new samples of your own, which you can use in your projects.
Important
: To record any audio, you need to connect an audio source to your MPC hardware or to your computer’s audio interface.
To open the Sampler
, press
Menu
, and then tap
Sampler
to enter Sampler Mode. Alternatively, press
Sampler
(MPC X). 1.
Connect an audio source to the input/inputs of your MPC hardware. 2.
The
Input ___
menu in the upper-left corner should be set to
Input 1,2
(the inputs of your MPC hardware). If it is not, then select
Input 1,2
. 3.
Turn the
3
/
4 Rec Gain
(MPC X) or
Rec Vol
(MPC Live, MPC Touch) 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.
Tap and drag
threshold slider
fairly low level (e.g.,
-50 dB
). to set the threshold. Alternatively, use the
data dial
or
–
/
+
buttons. Set it to a 5.
6.
Tap
Arm
to record-arm the Sampler. Play your audio source. The Sampler will start recording immediately when the input level reaches the threshold value. Alternatively, tap the round
Record
button to manually start recording. 7.
To stop recording
, tap the round
Stop
button. The
Keep or Discard Sample
window will appear. 46
In the
Keep or Discard Sample
window:
To name the new sample
, tap the
Edit Name
field and use the virtual keyboard to enter a name.
To assign the new sample to a program
, tap the
Program
field, and then use the
data dial
or
–
/
+
buttons to select the desired program. Alternatively, double-tap the
Program
field, and then tap a program to select it.
To assign the sample to a pad in the program
, tap the
Assign to Pad
field, and then press the desired
pad
. Alternatively, use the
data dial
or
–
/
+
buttons to select the desired pad number, or double-tap the
Pad
field, and then tap a pad number.
To confirm your selections
, tap
Keep
at the bottom of the screen.
To discard the recording and return to the previous screen
, tap the
Discard
button.
To play the recording
, tap the
Play
button at the bottom of the screen.
to learn more about this feature. 47
Sample Editing
You may need to edit your newly recorded samples using Sample Edit Mode.
To enter Sample Edit Mode
, press
Menu
, and then tap
Sample Edit
to enter Sample Edit Mode. Alternatively, press
Sample Edit
(MPC X). In Sample Edit Mode:
To switch between Trim Mode and Chop Mode
, tap the
Trim
/
Chop
tab at the bottom of the screen. In this example, use
Trim Mode
.
To set the sample’s start point
, use the
first
column of
Q-Link knobs
(when in the
Screen
Q-Link Edit Mode) to adjust the start point with varying degrees of resolution. Alternatively, tap and drag the
S
marker in the waveform. You can also double-tap the
Start
field and use the numeric keypad on the screen to enter a value (or tap the
Start
field and use the
numeric keypad
).
To set the sample’s end point
, use the
second
column of
Q-Link knobs
(when in the
Screen
Q-Link Edit Mode) to adjust the end point with varying degrees of resolution. Alternatively, tap and drag the
E
marker in the waveform. You can also double-tap the
Start
field and use the numeric keypad on the screen to enter a value (or tap the
Start
field and use the
numeric keypad
).
To hear your edits
, press
Pad 10
to play the sample from the start point to the end point. 48
Let’s apply some processing to the sample.
To open the Process Sample window
, tap
Process
at the bottom of the screen. 1.
Use the
data dial
or
–
/
+
buttons to select the desired process in the
Function
field. Alternatively, tap
Function
or double-tap the
Function
field, and then tap the desired process. Let’s select
Pitch Shift
to change the overall pitch of your sample. This will transpose the sample without affecting its length. 2.
To set the pitch shift amount
, tap and drag the
knob
in the center of the window up or down. Alternatively, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the
knob
and adjust the larger version that appears. Tap anywhere else to return to the previous screen. 3.
To confirm your selections
, tap
Do It
.
To cancel the process
, tap
Cancel
.
49
Recording Automation with the XY Pad
Automating various parameters is a good way to add some motion and dynamism to your sequences. 1.
Press
Menu
, and then tap
XYFX
to enter XYFX Mode. Alternatively, press
XYFX
(MPC X). 2.
Double-tap the
XYFX Location
field, and select
Program
. 3.
When you first enter this mode in a project, you will be prompted to “load” XYFX to the program. Tap
Insert XYFX
to do this. 4.
Tap
Setup
to show the Setup panel, which controls how the XY pad behaves. 5.
Double-tap the
Preset
field, and tap an effect to select it. (These are just the effects available in XYFX Mode, not all MPC effects.) Swipe up or down to view the entire list. 6.
Tap and drag any of the knobs (
Attack
,
Release
, or
Wet
/
Dry
) up or down to set their values as desired. Below them, you can see what parameter the X axis and Y axis control. 8.
9.
Note
: XYFX uses an envelope to control how quickly the effect crossfades between the dry signal and wet signal. The
Attack
knob determines how long it takes the completely dry signal to reach the wet signal (determined by the
Wet
/
Dry
knob) after you touch the XY pad. The
Release
knob determines how long it takes the wet signal (determined by the
Wet
/
Dry
knob) to return to the completely dry signal after you touch the XY pad. 7.
Tap the
automation button
or press
Read
/
Write
(MPC X) to cycle through the available automation modes. Make sure the button is
red
(the
Write
(
W
) option). Press
Play Start
to start recording. As you record, move your finger over the
XY pad
on the screen. The changes in the sound are being recorded as automation of both the X axis and Y axis parameters.
Tip
: While touching the
XY pad
, tap
Latch
in the lower-left corner to keep the marker on the XY pad even after you release it. The marker will remain there until you touch another part of the XY pad or until you tap
Latch
again. 10.
When you are done recording, press
Stop
. 11.
Tap the
automation button
or press
Read
/
Write
(MPC X) to select the
green Read
(
R
) option. This ensures your track uses the automation you just recorded when you play it back.
to learn more about using this feature. 50
Using MPC X or MPC Live as a Controller
If you are using the MPC software on your computer, you can switch MPC X or MPC Live into
Controller Mode
, allowing you to use it to control the software. MPC Touch already operates as a controller only. The MPC software offers the same features and functionality as the MPC hardware in Standalone Mode but with some notable differences, which are discussed in
Standalone vs. Controller Mode
51
Operation
This chapter explains the complete features and functions of your MPC hardware.
Important
: • When accessing the secondary functions of buttons on your MPC hardware, you can do this one of two ways: (
1
) pressing and holding
Shift
and then pressing the desired button or (
2
) double-pressing the desired button. This manual describes these operations using only the first option, but both are acceptable. • When the left-most button at the bottom of the screen shows an upward arrow ( ), it means there are additional buttons you can use when you press and hold
Shift
. Press and hold
Shift
to show the secondary buttons, and any of them, if desired. Release
Shift
to return to the previous buttons. • Almost every mode shown on the screen has 1–6 buttons at the bottom. Each of these buttons select a different tab in that mode or perform a specific function in that mode. •
MPC X
: You can press the
F-Key
button to activate or deactivate the F-Key feature. When active, the six buttons under the touchscreen correspond to the options shown at its bottom edge. The F-Key button and those six buttons will be lit
red
when active. When inactive, the six buttons under the touchscreen will access their normal modes instead (
Menu
,
Browser
,
Step Seq
,
Sampler
,
XYFX
, and
Looper
). •
MPC X
: As an alternative to tapping a control on the screen to select it, you can use the navigate through the controls on the screen. The
center cursor
acts as an
Enter
key.
cursors
to •
MPC Live, MPC Touch
can press the
data dial
. : As an alternative to double-tapping an item on the screen to “enter” it, you • When a parameter is highlighted and has a red outline, this means that it is selected. You can then change it by turning the hardware’s
data dial
or using the
–
/
+
buttons. If the parameter is a number, double-tap it to show a numeric keypad on the screen to enter a specific value, or use the
numeric keypad
(MPC X). •
MPC Live, MPC Touch
: When the touchscreen shows a parameter or group of parameters with a
gold outline
(and sometimes a
Q
in the corner), this means that the current bank of
Q-Link knobs
will control those parameters or settings. Turn a
Q-Link knob
to adjust its corresponding parameter value or setting in that group. When the value has decimal places, you can sometimes press and hold
Shift
and then turn the
Q-Link knob
to adjust the value by smaller increments. You can also press the
Q-Link
button to select another group of four parameters. • Press and hold the any of the
Q-Link
buttons (
Project
,
Program
,
Pad Scene
,
Pad Param
, or
Screen Control
/
Edit
: MPC X) or the
Q-Link
button (MPC Live, MPC Touch) to see an overview of all 16
Q-Link knobs
and their parameters in the
QLinks
window that appears. You can then tap a column or row of knobs to select those four Q-Link knobs, and then release the
Q-Link
button. See
to learn more about using the Q-Link knobs throughout your project.
52
General Features
Control Types
The MPC touchscreen uses the following types of control elements:
Knobs To set the value for a knob
, do any of the following: • • Tap and drag the knob up or down. Tap the knob to select it, and then use the buttons to adjust the value.
data dial
or
–
/
+
• Double-tap the knob to show it in a larger screen. Alternatively, press the
center cursor
or
Enter
(MPC X) or the (MPC Live, MPC Touch) when the knob is selected.
data dial
Tap and drag the larger version that appears, or use the
data dial
or
–
/
+
buttons to adjust the value. If the knob is bipolar (has positive and negative values with the center as the default position), double-tap the larger version to reset it to the center/0 position. Tap anywhere else to return to the previous screen. • Press and hold
Shift
while turning the by smaller increments.
data dial
to adjust a value
Parameter Values To set the value for a parameter
, do either of the following: • Tap the field to select it, and then use the to adjust the value.
data dial
or
–
/
+
buttons • When the value has decimal places, you can sometimes press and hold
Shift
and then use the
data dial
or
–
/
+
buttons to adjust the value by smaller increments. Double-tap the field or hold your finger on it for a second. In the screen that appears, use the
numeric keypad
, the
data dial
, or the
–
/
+
buttons to adjust the value. Alternatively, tap and drag the value up or down. You can also tap /
2
to halve the value or
x2
to double it.
To confirm the value and remain on this screen
, tap
Apply
.
To confirm the value and return to the previous screen
, tap
Do It
.
To return to the previous screen without changing anything
, tap the gray area in the upper-left corner of the screen. 53
Drop-Down Menus
/
Lists To select an option for a drop-down menu
, do any of the following: • • Tap the field to select it, and then use the
data dial
or
–
/
+
buttons to select an option. Double-tap the field. In the list that appears (examples below), tap the desired option. Alternatively, use the
data dial
or the
–
/
+
buttons to select an option. In some windows, tap the relevant button at the bottom of the screen to confirm your selection or to cancel without changing anything.
Selectors
Selectors show all available options. One of them is always selected. The selected option is highlighted while the others are dark.
To select an option
, tap it. 54
Buttons
Buttons usually have two states: selected and deselected (active or inactive, respectively). Some may have more than two states.
To switch between or cycle through a button’s states
, do either of the following: • • Tap it. If it is outlined in red (and is not a mute button), use the
data dial
or
–
/
+
buttons.
Checkboxes
Checkboxes have two states: checked and unchecked (enabled or disabled, respectively).
To check or uncheck a checkbox
, tap it.
Tabs
Some modes have buttons at the bottom of the screen that let you cycle through several similar tabs. For instance, you could view the send level that is routed to each of four returns—each level is shown on a separate tab. With each tap, you will move to the next tab, indicated by the squares below it.
To select a tab
, tap it. Each time you tap it, it will select the next tab.
Sliders To adjust the position of a slider
, do any of the following: • • • Tap and drag the slider to the desired position. Tap the desired position (this works only on some sliders). Tap the slider to select it, and then use the some sliders).
data dial
or
–
/
+
buttons to adjust the position (this works only on • Double-tap the slider, and then tap and drag the larger version that appears, or use the
data dial
or
–
/
+
buttons to adjust the value. If the slider controls a volume level, double-tap the larger version to reset it to
0 dB
. Tap anywhere else to return to the previous screen. 55
Envelopes To set the stages of an envelope
, do either of the following:
Tip
: Tap the
expand-rectangle icon
above the envelope to show a close-up view. • • Tap and drag a “handle” of an envelope stage in the desired direction. Set the numeric value of an envelope stage by adjusting or entering it as a parameter value (described
). The Filter/Envelope tab in Program Edit Mode. Close-up of an AD-type filter envelope. Close-up of an AHDS-type amp envelope. 56
Grid View Tools
In the Grid View, these four icons enable you to use different functions in the grid. Tap one to select its mode:
Pencil
: Draw Mode:
To enter a note in an empty grid square
, tap the grid square.
To select a note
, tap it.
To move a note
, tap and drag it to another grid square.
To erase a note
, double-tap it.
Eraser
: Erase Mode:
To erase a note
, tap it.
Select Box
: Select Mode:
Note
: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while
Hitting Pad Selects All Events
is set to
On
.
To select a note
, tap it.
To select multiple notes
, tap and drag across the grid to create a box around them.
To move a note
, tap and drag it to another grid square.
To move multiple notes
, select them as described above, and tap and drag them.
To erase multiple notes
, select them as described above, and then select the
eraser tool
and tap any of the selected notes.
Magnifying Glass
: Navigation Mode:
To move to another part of the grid
, tap and drag it.
To zoom in or out
, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time. 57
Audio Edit Tools
In Audio Edit Mode, these six tool icons enable you to use different functions in the waveform. Tap one to select its mode:
Marquee
: Marquee Mode:
To select a track region
, tap the upper third of it.
To move a track region
(or multiple selected track regions), tap and drag the upper third of it left or right.
To split the track at two specific points
(creating a track region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.
To shorten or lengthen a track region
(or multiple selected track regions), tap and drag the lower third of it left or right.
Arrow
: Selection Mode:
To select a track region
, tap it.
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
To move a track region
(or multiple selected track regions), tap and drag the upper third of it left or right.
To shorten or lengthen a track region
(or multiple selected track regions), tap its edge and drag it.
Eraser
: Erase Mode:
To select multiple track regions
, tap and drag across the grid to create a box that highlights them.
To erase a track region
(or multiple selected track regions), tap it.
Scissors
: Split Mode:
To split the track at a specific point
(creating a track region on either side), tap that point in the track.
To select a track region
, tap its left-most edge.
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
Mute
: Mute Mode:
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
To mute or unmute a track region
(or multiple selected track regions), tap it.
Magnifying Glass
: Navigation Mode:
To move to another part of the track
, tap and drag it.
To zoom in or out
, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time. 58
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
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
for more information. A
keygroup program
uses one or more samples as its sound source. It contains (
1
) a list of samples and (
2
) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads. See
information. 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
for more information. A
plugin program
contains an instance of a plugin through which you can send your track’s MIDI data. See
Important
: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. They are not available in Standalone Mode. A
MIDI program
lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine. See
for more information. A
CV program
lets you send your track’s MIDI data to an external MIDI device that uses control voltage
59
Drum Programs
A drum program uses one or more samples as its sound source. It contains (
1
) a list of samples and (
2
) the settings for each sample (i.e., pad assignments, loop points, pitch tuning, effects, etc.). Drum programs are used mostly for creating drum parts and quickly and easily assigning samples to pads.
To create a drum program
: 1.
Press
Main
to enter Main Mode. 2.
Next to the program.
Track
field, tap the
four-squares icon
, which indicates a drum 3.
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
, tap 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
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel.
To load a sample into a drum program
: 1.
Press
Browse
(MPC X) or
Shift
+
Menu
/
Browse
(MPC Live, MPC Touch) to show the Browser. Find and select a sample, and then tap
Load
to load it to the program. Repeat this for any other samples you want to load into the project. (See
to learn more about using the Browser specifically.) 2.
3.
4.
Tap
Sample Assign
Press or tap a pad to select it. The pad will be lit green. In the
Sample Pool
to view the pads and project’s sample pool. list, tap a sample to assign it to the pad. Alternatively, use the assign a sample and/or change the assigned sample.
data dial
or
–
/
+
buttons to
To clear the assigned sample from a selected pad
, tap
Clear Pad
.
To assign samples to additional pads
, repeat Steps 3–4.
Tip
: Remember that a drum program has 128 pads total—16 pads across eight banks. 60
Alternatively, assign samples in a drum program in Program Edit Mode in one of these two ways
: 1.
Press
Menu
, and then tap
Program Edit
to enter Program Edit Mode. Alternatively, press
Prog Edit
(MPC X). 2.
Tap the
Samples
tab. This lets you view the samples assigned to all four layers of the current pad as well as tuning and level parameters for each layer. 3.
Tap a pad to select it (and play its assigned samples, if any). The pad will be lit green. 4.
Tap one of the
Layer
fields under the sample waveform to select a layer. Tap the
Sample
field, and then use the
data dial
or
–
/
+
buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample to select it. 1.
Press
Menu
, and then tap
Program Edit
to enter Program Edit Mode. Alternatively, press
Prog Edit
(MPC X). 2.
Tap the
Pan Velocity
tab. This lets you view the samples assigned to all four layers of the current pad as well as panning and velocity ranges of each layer. 3.
Tap a pad to select it (and play its assigned samples, if any). The pad will be lit green. 4.
Tap one of the
Layer
fields to select a layer, and then use the
data dial
or Alternatively, double-tap the field for a layer, and then tap a sample to select it.
–
/
+
buttons to select a sample. 61
Keygroup Programs
A keygroup program uses one or more samples as its sound source. It contains (
1
) a list of samples and (
2
) the settings for each sample (i.e., pitch tuning, effects, etc.). Keygroup programs are used to play samples chromatically with a MIDI keyboard or the MPC pads.
To create a keygroup program
: 1.
Press
Main
to enter Main Mode. 2.
Next to the program.
Track
field, tap the
piano-keys icon
, which indicates a keygroup 3.
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
, tap 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
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel.
To assign samples in a keygroup program
: 1.
Press
Menu
, and then tap
Program Edit
to enter Program Edit Mode. Alternatively, press
Prog Edit
(MPC X). 2.
Tap
Samples
. 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.
Tap the
Number of KG
field, and then use the
data dial
or
–
/
+
buttons to set the number of keygroups in the program (
1
–
128
). Alternatively, tap the
Number of KG
field, and then use the numeric keypad to enter a value (or double-tap the
Number of KG
field, and then use the numeric keypad on the screen). 4.
Tap the
Keygroup
field, and then use the
data dial
or
–
/
+
buttons to select a keygroup. Alternatively, double-tap the
Keygroup
field, and then tap a keygroup to select it. 5.
Tap a pad to play the sample in the keygroup. The pad will be lit green.
Tip
: On your MPC hardware, press the
Pad Bank D
button to and press
Pad 13
. You should hear the sample played back with its original pitch. You can use the other pads to play your sample chromatically. 6.
Tap the field for a layer, and then use the
data dial
or
–
/
+
buttons to select a sample. Alternatively, double-tap the field for a layer, and then tap a sample to select it. 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. 62
Clip Programs
A
clip program
uses several samples that can be looped (clips). Each clip can be assigned to a pad, which you can press to trigger the clip according to a quantization setting. This lets you create intriguing, layered performances by launching different combinations of clips together. By default, the 16 pads are divided into four columns of four pads. Each column represents a mute group; when a pad is playing a clip, all other pads in that same mute group are turned off. 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.
Press
Main
to enter Main Mode. 2.
3.
Next to the
Track
field, tap the
play-button icon
, which indicates a clip program. If the project does not contain a clip program yet, a new clip program (named be added automatically to the project and appear in the
Program
field below.
Clip
, appended with a number) will 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
, tap 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
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel. 63
To load a clip into a clip program
: 1.
Press
Main
to enter Main Mode. 2.
3.
Tap
Edit Clips
to view the pads and clip settings. Press or tap a pad to select it (and play its assigned samples, if any). The pad on the screen will be lit red, and its number will appear in the
Pad
field. 4.
Tap the
Sample
field, and then use the
data dial
or
–
/
+
buttons to select a clip. Alternatively, double-tap the
Sample
field, and then tap a clip to select it.
To clear the assigned clip from a selected pad
, repeat Step 4, but select
None
.
To assign clips to additional pads
, repeat Steps 3–4.
Alternatively, assign clips in a clip program this way
: 1.
Press
Browse
(MPC X) or
Shift
+
Menu
/
Browse
(MPC Live, MPC Touch) to show the Browser. Find and select a clip, and then tap
Load
to load it to the program. Repeat this for any other clips you want to load into the project. (See
to learn more about using the Browser specifically.) 2.
Tap
Sample Assign
to view the pads and project’s sample pool. 3.
Tap
Assign Mode
so it is selected (tapping an item in the sample pool will now assign it automatically to the current pad). 4.
In the
Sample Pool
list, tap a clip to assign it to the pad. Alternatively, use the
data dial
or
–
/
+
buttons to assign a clip and/or change the assigned clip.
To clear the assigned clip from a selected pad
, tap
Clear Pad
.
To assign clips to additional pads
, repeat Steps 4–5. 64
Plugin Programs
A plugin program contains an instance of a plugin through which you can send your track’s MIDI data. This lets you use the same instance of a plugin with multiple tracks (rather than load an instance of a plugin on every track, which can be cumbersome and CPU-intensive).
Important
: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software.
To create a plugin program
: 1.
Press
Main
to enter Main Mode. 2.
3.
Next to the
Track
field, tap the
plug icon
, which indicates a plugin program. If the project does not contain a plugin program yet, a new plugin program (named
Plugin
number) will be added automatically to the project and appear in the
Program
field below. , appended with a 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
, tap the
+ icon
above the
Program
field. A new plugin program will be created and appended with a number (e.g.,
Plugin 002
). 4.
Double-tap the
Plugin
field. In the list that appears, tap the desired plugin. Alternatively, use the
data dial
or the
–
/
+
buttons to select a plugin.
To sort your plugins by type or maker
, tap
Type
or
Manufacturer
. 5.
Tap
Select
to select the plugin, or tap
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 the user guide in the MPC software to learn more: click the
Help
menu, select
MPC Help
, and select
MPC User Manual
.
To select the MIDI channel the program will use
, double-tap the
MIDI Ch
field. In the list that appears, tap the desired channel. Alternatively, use the
data dial
or the
–
/
+
buttons to select a channel. Use this setting when you are working with a virtual instrument plugin that supports multi-mode.
To select a preset in your plugin
(if any), double-tap the
Preset
field. In the list that appears, tap the desired preset. Alternatively, use the
data dial
or the
–
/
+
buttons to select a preset.
To rename the program
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel.
To adjust the volume and panning of a track using the plugin program
: 1.
Press
Menu
, and then tap
Channel Mixer
to enter the Channel Mixer. Alternatively, press
Ch. Mixer
(MPC X). 2.
3.
4.
Double-tap the
Mixer
Tap the square that represents the track with the plugin program to select it. Tap and drag the field in the upper-left corner, and then tap
volume slider
or
pan knob Midi Tracks
. 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. 65
MIDI Programs
A MIDI program lets you send your track’s MIDI data to an external MIDI device like a synth or drum machine.
To create a MIDI program
: 1.
Press
Main
to enter Main Mode. 2.
3.
Next to the
Track
field, tap the
MIDI-jack icon
, which indicates a MIDI program. 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, it will be selected automatically and appear in the
Program
field below.
To create another MIDI program
, tap the
+ icon
above the
Program
field. A new MIDI program will be created and appended with a number (e.g.,
Midi 002
). 4.
There are five additional settings to configure for a MIDI program: the
MIDI Port
, program change message (
Program Ch
), MIDI channel (
MIDI Ch
), Most Significant Byte (
Bank MSB
), and Least Significant Byte (
Bank LSB
to learn more.
To configure each setting
, double-tap its field. In the list that appears, tap the desired option. Alternatively, use the
data dial
or the
–
/
+
buttons to select an option.
Note
: You also have to configure the MIDI ports in the software’s
Preferences
(in the
Edit
Menu). See the user guide in the MPC software to learn more: click the
Help
menu, select
MPC Help
, and select
MPC User Manual
.
To rename the program
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel.
To adjust the volume and panning of a track using the MIDI program
: 1.
Press
Menu
, and then tap
Channel Mixer
to enter the Channel Mixer. Alternatively, press
Ch. Mixer
(MPC X). 2.
Double-tap the
Mixer
field in the upper-left corner, and then tap
Midi Tracks
. 3.
4.
Tap the square that represents the track with the MIDI program to select it. Tap 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 MIDI 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.
66
CV Programs
A CV program lets you send your control voltage (CV) signals to an external MIDI device like a synth or drum machine that uses CV.
To create a CV program
: 1.
Press
Main
to enter Main Mode. 2.
3.
Next to the
Track
field, tap the
CV icon
, which indicates a CV program. 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
). 4.
There are five additional settings to configure for a CV program: the note tracking (
Note
), the
CV Port
, the
Gate Port
, the modulation wheel (
Mod Wheel
), and
Velocity Port
.
To rename the program
, tap the
cursor icon
on the right edge of the
Program
section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
to confirm or the gray bar at the top of the screen to cancel. 67
Menu
The Menu lets you select any of the 21 modes or save your project. On MPC X or MPC Live, you can also use it to set your preferences, switch between Standalone Mode and Controller Mode, or view your system resources.
To open the Menu
, press
Menu
, or tap the icon in the upper-left corner of the screen while on the normal page of your current mode. When viewing the Menu, do any of the following:
To enter a mode
, tap it.
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
, tap the gray area in the upper-left corner, or press
Menu
again. You can also press and hold the
Menu
button and press a pad to select a menu mode. The pads follow the 4x4 layout of the Mode Menu.
Note
: The Menu above is available when the currently selected track is a MIDI track. When an
audio track is selected, it will show an icon for
instead of Grid View. Click a part of the screen above to skip directly to that part of this user guide. 68
Save To save the project
, tap the
disk icon
at the top of the screen. Alternatively, press
Shift
+
Browse
/
Save
(MPC X). If you have already saved the project, your changes will be saved. If you have not saved the project yet, use the
Save
window to save the project:
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file paths (see
to learn how to do this).
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To save the file as a project template file
, tap the
Save as Template
checkbox to check it before tapping
Save
. (This file will be shown in the
Template File
field in the Preferences’
Project Load
/
Save
tab.)
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 69
Preferences To open the Preferences,
tap the
gear icon
at the top of the screen.
To return to the Menu
, tap the
icon
in the upper-left corner. Changes to the
Preferences
are saved automatically except for
Vintage Mode
(in the
General
tab) and
Start Time
(in the
Sync
tab).
To restore your MPC hardware’s default settings
, tap
Reset
. In the screen that appears, tap
OK
to continue or
Cancel
to return to the Preferences. In the next window, tap
Save
to save your current project before restoring the default settings; tap
Cancel
to return to the Preferences; or tap
Don’t Save
to restore the default settings without saving your current project.
Important
: For MPC X and MPC Live, the Preferences will appear differently in Controller Mode than in Standalone Mode. Some of the options described in this section may be available in only one of these modes or in a different order.
Info
This screen shows current information about your MPC hardware: its current firmware version, which includes its standalone operating system (
MPC Firmware
); its hardware
Serial Number
; and its current firmware for the
Control Surface
.
To enter Update Mode
, press and hold
Shift
and tap
Update
. In the screen that appears, tap
Save
to save your current project before entering Update Mode; tap
Cancel
to return to the Preferences; or tap
Don’t Save
to enter Update Mode without saving your current project.
Sequencer
The settings on this screen determine how sequencing works in the Grid View 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 Events
: When enabled, pad aftertouch data (from the MPC 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. 70
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.
Bar 1 2 3 4 5 6 7 8
For example, if you record a note starting on the second bar of a 4-bar loop and hold it for 5 bars, the note would end: at bar 7 (As Played), at bar 6 (To Sequence Length), or bar 4 (To Sequence End). See image for details.
As played To Sequence Length To Sequence End Q-Link Swing Control Applies TC Settings on Release
: When enabled, turning the Q-Link knob assigned to
Swing
and then releasing it will immediately apply that Swing setting. When disabled, you must use the Timing Correct window to apply the Swing setting.
Sync
The settings on this screen determine how your MPC hardware synchronizes with connected USB and MIDI devices.
Receive
: This determines whether your MPC hardware receives MIDI Clock information (
MIDI Clock
), MIDI Time Code information (
MIDI Time Code
(
MTC
)), communication from Ableton Link (
Ableton Link
), or none of these (
Off
).
Receive MMC
: When enabled, your MPC hardware will be able to receive MIDI Machine Control (MMC) information. When disabled, your MPC hardware will not receive this information. See
Send
: This determines whether your MPC hardware sends MIDI Clock information (
MIDI Clock
), MIDI Time Code information (
MIDI Time Code
(
MTC
)), or neither (
Off
).
Send MMC
: When enabled, your MPC hardware will be able to send MIDI Machine Control (MMC) information. When disabled, your MPC hardware will not send this information. See
to learn about this.
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
.
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
–
4
: These are the MIDI ports over which MIDI Clock or MTC information will be sent.
Hardware
The settings on this screen determine the behavior of your MPC hardware’s pads and touchscreen.
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 (see graphic here). MIDI Velocity
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 connected footswitches will work. These options are available for MPC X only, not for MPC Live or MPC Touch, which do not have footswitch inputs.
MIDI Control Mode Output
: This determines which MIDI port the MPC hardware is using to send MIDI messages to external MIDI devices. Applied Force 71
Screen Dimming
: This determines how much time must pass before your MPC hardware automatically dims its touchscreen (if it uses a battery, this can help preserve battery life).
Screen Brightness
: This determines the brightness of the screen during normal operation: normal brightness (
Day
) or dimmed (
Night
).
Power On Screen
(MPC Live only): This determines if/when a special screen will appear when you power on your MPC Live. On this screen, you must tap and hold a button for a moment to begin using MPC Live or it will automatically power off. This feature prevents it from powering on accidentally and wasting battery life. You can set it to the following options:
Never
: The screen will never appear.
When On Battery
: The screen will appear only if you power on MPC Live while using battery power.
Always
: The screen will always appear.
VU Meter Source
(MPC X only): This determines what audio signal level is shown in the level meters (on the right side of the screen). When set to
Master
, the level meters show the audio signal sent out of
Outputs 1
/
2
(the
Main L
/
R outputs
on the rear panel). When set to
Current Program
, the level meters show the audio signal of the currently selected program (i.e., the program used by the currently selected track and any other tracks that also use it).
Date
(MPC X & MPC Live only): This is the current date, formatted as
Month
/
Day
/
Year
. When saving files on MPC X or MPC Live in Standalone Mode, the file will include the current date in its metadata. If you use MPC X or MPC Live in Controller Mode, this setting will be overwritten with the current date of the host computer.
Time
(MPC X & MPC Live only): This is the current time, formatted as
Hour
:
Minute
. When saving files on MPC X or MPC Live in Standalone Mode, the file will include the current time in its metadata. If you use MPC X or MPC Live in Controller Mode, this setting will be overwritten with the current time of the host computer.
Time Zone
(MPC X & MPC Live only): This is the current time zone, formatted as
Continent
/
City
, which you can change here.
Project Defaults
The settings on this screen determine various default values for any new project that you create.
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. You must have a project in the
Template File
field of the
Project Load
/
Save
tab to select a template in this window.
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
Default Plugin Synth
: This determines the default instrument plugin that a new plugin program will use. Use the window that appears to select it. (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.) 72
Project Load
/
Save
The settings on this screen determine if (and how) projects are automatically saved. If you are using MPC hardware as a controller, you can also define files to load automatically.
Auto Load File
: Use this field to select a project (
.xpj
) or program (
.xpm
) to load automatically anytime you open the MPC software. (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
Enabled
: When enabled, your project will automatically save after each
Timeout
interval. When disabled, your project will not be automatically saved; you may save only manually.
Timeout
: Use this field to select how often your project will automatically save.
Template File
: Use this field to select a project template that will load automatically when you select
User Template
in the
New Project Dialog
window. (If you select the
Save as Template
box when saving a file, it will be shown in this field.) In order for the
User Template
option to be available,
New Project Dialog
(in the
Project Defaults
tab) must be set to
Demo
or
Demo
/
Template
/
Recent
.
General
/
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
button before the new tempo is recognized.
Flash Tap Tempo Light
: When enabled, the
Tap
button’s light will flash in time with the tempo. When disabled, the
Tap
button’s light will be off.
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
.
Sampling Bit Depth
: This determines bit depth of the audio recorded from a sample.
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
).
Audition Auto Play
: This determines how long a sample will sound when auto-previewing it.
Audition Outputs
: This determines which pair of outputs will play any auditioned sounds (
Out 1,2
–
7,8
in Standalone Mode,
Out 1,2
–
31,32
in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). These sounds include: samples, programs, and projects in the Browser; sample playback,
Cue Preview
, and
Slice Preview
in Sample Edit Mode; and sample playback in the
Keep or Discard Sample
window in the Sampler.
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
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
Threads
: This determines how many cores of your computer’s processor will be used to render audio. The available range depends on your processor. (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
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). (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
Note
: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by using a Warp algorithm other than Elastique Pro, which is very CPU-intensive. 73
Audio Track Auto Warp
: This determines how recorded audio track regions are warped. When set to
On
, any audio track region that you record will be warped automatically to match the current sequence tempo. You can then adjust the sequence tempo while the audio track region remains in time.
Note
: When you record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. 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.”
BPM Detection Range
: This defines the range of detectable BPM values when you use any automatic BPM detection function in the software or when you press the
Tap
button to enter a new tempo.
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.
Desktop Screensaver Disable
: This determines if/when your computer’s screensaver is disabled while using the MPC software (i.e., using your MPC hardware in Controller Mode):
Never
: Your computer’s screensaver will function normally.
When hardware used
: As long as your MPC hardware is connected to your computer and being used, your computer’s screensaver will be disabled.
When hardware attached
: As long as your MPC 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 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 hardware is connected or powered on). (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
Collect Usage Statistics
: This determines whether or not your usage statistics will be sent occasionally to us, enabling us to improve the MPC experience. (For MPC X and MPC Live, this option is available only when using your MPC hardware in Controller Mode.)
Bluetooth
The settings on this screen will determine how your MPC hardware’s Bluetooth connection works, so you can use Bluetooth MIDI controllers (e.g., LPD8 Wireless or LPK25 Wireless) or a Bluetooth computer keyboard with it. These settings are available only for MPC X and MPC Live when used in Standalone Mode.
To activate or deactivate Bluetooth connectivity on your MPC hardware
, tap the
On
/
Off
selector. The available Bluetooth devices will appear in the panel below it under
Available Devices
. The Bluetooth devices that have already paired to your MPC hardware will appear under
Paired Devices
.
To select a Bluetooth device
, tap it.
To pair a selected Bluetooth device
(in the Available Devices section), tap
Pair
.
To connect to a selected Bluetooth device
(in the Paired Devices section), tap
Connect
.
To disconnect from a connected Bluetooth device
(in the Paired Devices section), tap
Disconnect
.
To return an available Bluetooth device to its original state
, tap
Remove
. 74
Wi-Fi
The settings on this screen will determine how your MPC hardware’s wireless connection works, so you can use Ableton Link, a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network. These settings are available only for MPC X and MPC Live when used in Standalone Mode.
To activate or deactivate wireless connectivity on your MPC hardware
, tap the
On
/
Off
selector. The available wireless networks will appear in the panel below it.
To select a wireless network
, tap it.
To connect to a selected wireless network
, tap
Connect
. If the Wi-Fi network is password-protected, use the virtual keyboard that appears to enter the correct password to connect to it.
To view the information of a selected wireless network
, press and hold
Shift
and tap
Info
. The
Network Information
window that appears will show the network name, IPv4/IPv6 address (including the subnet mask and gateway), type of security, and signal strength (as a percentage).
To disconnect from a connected wireless network
, tap
Disconnect
.
To clear the connection information
(e.g., the password)
from a selected wireless network
, tap
Forget
.
Legal
This screen shows legal information relevant to MPC. For complete legal information, visit
akaipro.com
/
product-legal Sync
Tap the
Sync
field (in the center of the top of the screen) and then turn the
data dial
or use the
–
/
+
buttons to set whether your MPC hardware receives MIDI Clock information (
MIDI Clock
), MIDI Time Code information (
MTC
), communication from
Ableton Link
, or none of these (
Off
). Alternatively, double-tap
Sync
and tap the desired option to select it. This is the same setting as the
Receive
menu in
Sync
tab of your
Preferences
. See
for more information.
Important
: Your MPC hardware must be connected to a wireless network in order to receive these types of timing information. See
to learn how to connect to a wireless network.
Note
: Ableton Link is a new technology that synchronizes beat, phase and tempo of Ableton Live and Ableton Link-enabled applications over a wireless or wired network.
Mode
Tap this icon to switch MPC X or MPC Live between Standalone Mode and Controller Mode (MPC Touch already operates as a controller only). In the screen that appears, select whether you want to save your current project before switching (
Save
), switch without saving your project (
Don’t Save
), or stay in the current mode and project (
Cancel
). You cannot freely switch between Standalone and Controller Modes without also closing your current project.
Standalone vs. Controller Mode
75
System Resources
Tap one of these icons to show the System Resources window for MPC X or MPC Live. The indicators in this window show current usage statistics:
Battery
: If you are using MPC Live powered by its internal battery, the first indicator shows the current
battery life
to learn more about MPC Live’s internal battery.)
CPU
: The
CPU
indicator shows the current
CPU
as a percentage.
RAM Usage
: The
Mem
indicator shows your MPC hardware’s current RAM usage.
Important
: If you encounter a warning that there is not enough memory to complete an action while using your MPC hardware, do the following to make more memory available: Make sure all audio tracks in your project are
not
record-armed. Delete samples from your project’s sample pool that were there before the warning appeared. 2.
3.
• • • If you are still seeing the warning, do the following: 1.
•
Manually
undo the last action you performed before seeing the warning (you may not be able to use the
Undo
button for this due to how the undo history is stored in RAM). Save your project. Do one of the following, and then load your saved project again. In
Main Mode
, tap the
folder icon
at the top of the screen, and then tap
New
at the bottom of the screen. Power your MPC hardware off and then on again. Press
Menu
and then tap the
gear icon
to open the
Preferences
. In the Preferences, tap
Reset
at the bottom of the screen, tap
OK
, and then tap
Restart
to reset the Preferences. Enter Controller Mode and then reenter Standalone Mode.
Important
: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
Drives
: The
Drives
indicator shows the available storage space on any detected external storage devices or the internal drive of MPC X or MPC Live.
To delete samples from the project
(to create more free RAM space for sampling time, audio recording, etc.), tap
Purge
. In the screen that appears, tap
Unused Samples
to delete all unused samples from the project, tap
All Samples
to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or tap
Cancel
to return to the previous screen.
To close the System Resources window
, tap
OK
, the
X
in the upper-right corner, or anywhere outside the window. 76
Time Counter
/
Locate
In most of the available modes, there is a time counter at the top of the screen. This indicates the current playhead position.
To adjust the position
, tap it, and then use the use the
data dial
or the
–
/
+
buttons.
To open the Locate screen and adjust its settings
, double-tap the
time counter
.
To close the Locate screen
, tap the
X
in the upper-right corner or anywhere outside the window.
To move forward or backward a step
, tap the
Step <
or
Step >
button, respectively.
To move forward or backward a bar
, tap the
Bar <<
or
Bar >>
button, respectively.
To configure your auto record settings
, use the
Auto Record
selector and adjacent fields:
Auto Record selector
: Tap the desired option to select it:
Off
: Auto recording is disabled.
Punch In
: You can auto record using punch-in and punch-out markers, enabling you to record over a specified length of time in the track. While recording, the entire sequence will play, but you will record over only the area between the
Punch In
and
Punch Out
markers. Any part of the sequence before the Punch In marker or after the Punch Out marker will remain untouched, even if you perform over it during recording.
Record Start
: After you record-arm the track and start playback, you will start recording once the sequence loops back to its start. This is essentially a punch-in feature for the entire track, enabling you to start playing a record-armed track while allowing more time than the usual count-in to prepare for the actual recording to start.
Punch In
: Use these fields to set the location of the Punch In marker, which is where recording will start (when the
Auto Record selector
is set to
Punch In
).
Punch Out
: Use these fields to set the location of the Punch Out marker, which is where recording will stop (when the
Auto Record selector
is set to
Punch In
). 77
You can use this screen to set time markers, allowing you to jump automatically to precise locations in a sequence. You can set up to six time markers.
To set a time marker
, tap the
time counter
at the top of the screen, find the desired time, and then tap
Set
next to the desired time marker. The time will appear next to that marker.
To jump to a time marker
, tap the number next to it (
1
–
6
). 78
Timing Correct
(
TC
) The
Timing Correct
window contains various settings to help quantize the events in your sequence. You can quantize note events on MIDI tracks or track regions on audio tracks (though you cannot apply all types of quantization to audio tracks).
To open the Timing Correct settings
: In
Main Mode
or
List Edit Mode
: Tap the
TC
/
clock icon
at the top of the screen. In the
Grid View
: Press and hold
Shift
and tap
TC
at the bottom of the screen. In the
Track View
or the
Step Sequencer
: Tap
TC
at the bottom of the screen.
Note
: The
TC
button in
Pad Mute Mode
and
Track Mute Mode
contain Timing Correct settings, but they do
and
to learn about those settings.
To apply the settings you selected
, tap
Do It
.
To cancel and return to the previous screen
, tap
Close
. Use the
Type
selector to set how timing corrections are applied.
Start
: The start points of note events or audio track regions will be extended or shortened to align with the closest time division marker in the grid. The start points will remain untouched. You can apply this to MIDI tracks or audio tracks.
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. You can apply this to MIDI tracks only.
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. You can apply this to MIDI tracks only.
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. You can apply this to MIDI tracks only. Without legato applied. With legato applied. 79
Use the
Time Division
selector to set the quantization value. Events will “snap” to these time divisions on the grid. The
T
indicates a triplet-based value. Alternatively, press and hold
Note Repeat
while in Main Mode, and then use the six buttons at the bottom of the screen. Use the
Swing
field to set the amount of swing from
50%
to
75%
. Swing lets you “shuffle” your beats—from subtle to extreme. Use the
Shift Timing
field to shift all events by clock ticks. Use the
Window
field to set how many events around a quantize value will be quantized. Any events outside this range will not be quantized; events inside will. Use the
Strength
field to set how strictly events will be quantized (i.e., shifted toward the quantize value). Lower values move events 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. To select note events to which to apply time correction, either use the various tools in Grid View or press the pad with the desired events (while
Hitting Pad Selects All Events
is set to
On
). You must do this
before
opening the Timing Correct window. When
Range
is selected, you can define the locations (
From
and
To
) as well as the pads or keys that will be quantized. 80
Metronome
(
Click
/
Metro
) The
Click
/
Metro
window contains all settings regarding the metronome (click track).
To open the metronome settings
: In
Main Mode
or
List Edit Mode
: Tap the
Metro
/
metronome icon
at the top of the screen. In the
Grid View
: Press and hold
Shift
and tap
Click
at the bottom of the screen. In the
Track View
: Tap
Click
at the bottom of the screen. Tap the
Metro
/
metronome icon
at the top of the screen. Use the
Count-In
field to set if/when the metronome counts before recording.
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
field 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
field to select the metronome click’s time division:
1
/
4
,
1
/
4T
,
1
/
8
,
1
/
8T
,
1
/
16
,
1
/
16T
,
1
/
32
or
1
/
32T
.
T
indicates a triplet-based time division. Use the
Sound
field to select the sound that you want to hear for the metronome:
Sidestick 1
,
Sidestick 2
,
Clap
,
Metroclick
,
Shake
,
Tambourine
, or
MPC Click
. Use the
Volume
knob to set the volume of your metronome click. Tap the
On
/
Off
button to enable or disable the metronome. Use the
Output
field to set which pair of outputs will play the metronome click:
Out 1,2
–
7,8
in Standalone Mode,
Out 1,2
–
31,32
in Controller Mode (MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). 81
Automation
You can set the automation for programs and audio tracks to be “written,” “read,” or disabled entirely. You can do this globally or for individual programs and audio tracks.
Global
In several modes, there is a button in the upper-right corner that controls the global automation. When you tap this button to change its state, it will change the automation state for all programs in the project. This is available in Main Mode, XYFX Mode, Pad Mute Mode, the Pad Mixer, the Channel Mixer, and Q-Link Edit Mode. Tap 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, tapping this will switch between
Read
(
R
) and
Write
(
W
) only, but you can override this and turn it off by pressing and holding
Shift
while tapping the button.
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 not recorded. (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 tapping 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, tap 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
. Tap the
program automation button
or press
Read
/
Write
(MPC X) to cycle through its three states: When
off
, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between
Read
(
R
) and
Write
(
W
) only, but you can override this and turn it off by pressing and holding
Shift
while pressing or tapping 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. (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.) 82
16 Level
Press the
16 Level
button on your MPC hardware to activate or deactivate
16 Level
. When first activated, the selected pad (
Pad A01
by default) will be temporarily copied to all 16 pads. The pads will now output the same note number as the initial pad, but a selectable parameter will be fixed at values that increase as the pad numbers increase (e.g., Pad 1 is the minimum, Pad 16 is the maximum), regardless of how hard you press them. 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 any of the following (while the
16 Levels
window is open): • • Press and hold Tap the
16 Level 16 Levels
, and then press the desired
pad
. checkbox to uncheck it (temporarily disabling the feature), press the desired then tap the
16 Levels
checkbox again to check it.
pad
, and • • Tap the
Pad
field, and use the Double-tap the
Pad data dial
or
–
/
+
buttons. field, and tap the desired pad in the list that appears. If
Type
is set to
Tune
, use the
Original Pad
field to select which you pad you want to use the original pitch of the sample/samples. Alternatively, hold
Shift
and press the desired pad. 83
Erase
The Erase function erases all or part of a track in a specific sequence.
To open the Erase window
, press the
Erase
button. Alternatively, while in Main Mode, tap the
pencil icon
on the right edge of the section, and then tap Erase in the screen that appears.
To select the sequence you want to erase
, use the
Sequence
field.
To select the track you want to erase within the sequence
, use the
Track
field.
To set the time range of the sequence you want to erase
, use the
Bar
,
Beat
, and
Tick
fields. The left fields set the start of the time range, and the right fields set the end of the time range.
To select what types of events you erase
, select one of the
Erase
options:
All
erases all pad events from the designated time range and reset all of its settings.
Automation
erases only automation from the designated time range.
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.
Except Note
erases everything
except
pad events from the designated time range.
To confirm your choice
, tap
Do It
.
To cancel and return to the previous screen
, tap the
X
,
Cancel
, or anywhere outside the window. 84
Effects
You can apply various effects to the pads, keygroups, audio tracks, programs, submixes, and master outputs, using
insert
and
send
/
return
effects. This chapter can help you get a good overall understanding of how the effects work. See
for a list of all available effects (with a brief description of each) and their
editable parameters.
Overview
In a program, each
pad
or
keygroup
can have up to
four insert effects
to learn more about this. An entire
program
or
audio track
can also have up to
four insert effects
or
to learn more about this. For even further flexibility, each
submix
can have up to
four insert effects
applied to it. You can route pads,
keygroups, audio tracks, or programs to a submix, which is then routed to a master output. See
Important
: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. Additionally, each
pad
,
keygroup
,
audio track
,
program
, and
submix
can each be sent to (up to)
four return channels
, each of which can have up to
four insert effects
of their own. Their audio will be routed through the insert effects on those returns, and the processed audio will be sent to a master output. See
to learn more about this. Finally, you can apply up to
four insert effects
to each master output (a stereo pair of channels:
Outputs 1
/
2
,
Outputs 3
/
4
, etc.). See
to learn more about this. When you create an audio mixdown of a sequence or song, you can choose whether or not master insert effects are included or send/return effects are included, depending on what you are mixing down: If you are creating an audio mixdown of a pair of
master outputs
, you can choose whether or not
master insert effects
will be included in the mixdown. If you are creating an audio mixdown of
separate programs
or
exploded tracks
, you can choose whether or not
send
/
return effects
will be included in the mixdown.
to learn about these options. There are three other modes that handle effects differently: • The
Sampler
can use up to
four insert effects
, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about the Sampler in the
chapter. • Similarly, the
Looper
can use up to
four insert effects
, which are applied to the audio as you record it. This means that the effects cannot be “removed” from the sound later. Learn more about the Looper in the
chapter. • In
XYFX Mode
, the effects act like a single insert effect on that program. In fact,
XYFX
is the name of the insert effect you have to load to the program before you can use this mode. Learn more about XYFX Mode in 85
To view, load, edit, or clear effects
, tap the area under the
Inserts
field. This usually appears in a channel strip (next to a
level slider
and
pan knob
). When viewing loaded effects, you will see this window:
To select an effect
, use the field for each insert slot. A window (described below) will appear.
To edit the parameters of a loaded effect
, tap the
pencil icon
next to the insert slot.
To clear the insert slot
, tap the
trash can icon
next to it.
To enable or disable an effect slot
, tap the
On
/
Off
button next to it.
To disable all four effect slots
, tap the
All On
/
All Off
button in the upper-right corner. Tap it again to reactivate the previously active effects. When selecting an effect, you will see this window:
To move through the list
, swipe up or down. Alternatively, use the
data dial
or
–
/
+
buttons.
To sort or unsort the effects by type or manufacturer
, tap
Type
or
Manufacturer
in the lower-left corner.
To load an effect
, double-tap it. Alternatively, tap
Select
, or press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch).
To cancel
, tap
Close
or anywhere outside the list. When you edit an effect, you will see this window:
To adjust a parameter
, tap and drag its slider. Alternatively, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the pad and adjust the larger version of the slider that appears.
Tip
: Turn the
Q-Link knobs
to quickly adjust the corresponding four parameters.
To select an effect preset
, use the dropdown menu at the top of the screen.
To load a saved preset
, tap the
folder icon
at the top of the screen.
To save a preset
, tap the
disk
icon at the top of the screen.
To select another page of parameters
, tap the
Parameters –
/
+
buttons at the top of the screen.
To enable or disable the effect
, tap the
On
/
Off
button in the upper-right corner.
To edit parameters for another insert effect on the same pad, program, etc.
, tap a different
Insert
tab at the bottom of the screen to select it.
To close the window
, tap
Close
or the upper part of the screen. 86
Insert Effects Pads
You can load up to four insert effects to each pad. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode.
Tip
: When using pad insert effects, they will be applied to the selected pad only. This means that you could apply unique combinations of effects to each pad within a program. If you want to apply the same effect to all pads, do this with a program insert effect (see
To load a pad insert effect in Main Mode
: 1.
When the
MIDI
tab is selected (in the lower-left corner), use the
Track
field to select the track that uses the program with the desired pad—the program it uses will be selected automatically. 2.
3.
If the channel strip is not already shown, tap the small Tap the
single-pad icon eye icon
below the
Project
field to show it. at the top of the channel strip. The channel strip will now show settings for the current pad. 4.
5.
Press the desired
pad
Tap the area under to select it. Alternatively, use the
Inserts Pad
field at the top of the channel strip. , and then use the screen that appears to load or edit effects. 87
To load a pad insert effect in the Pad Mixer
: 1.
Use the
Program
field at the top of the screen to select the desired program. Alternatively, use the
Track
the top of the screen to select the desired track—the program it uses will be selected automatically. field at 2.
Press the desired
pad
to select it, or tap it on the screen. Alternatively, double-tap the
Pad
field below the
Program
field. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired pad on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately.
To load a pad insert effect in Program Edit Mode
: 1.
2.
While using the desired program, press the desired
pad
to select it. Tap the
Effects
tab in the lower-right corner, and use it to load or edit effects. 88
Keygroups
You can load up to four insert effects to each keygroup. You can do this in Main Mode, the Pad Mixer, or Program Edit Mode.
Important
: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
To load a keygroup insert effect in Main Mode
: 1.
When the
MIDI
tab is selected (in the lower-left corner), use the
Track
field to select the track that uses the program with the desired pad—the program it uses will be selected automatically. 2.
3.
If the channel strip is not already shown, tap the small Tap the
single-pad icon
keygroup.
eye icon
below the
Project
field to show it. at the top of the channel strip. The channel strip will now show settings for the current 4.
Press a
pad
to select its corresponding keygroup, or tap it on the screen. Alternatively, use the the top of the channel strip.
Keygroup
field at
Important
: Remember that the effect will be applied to that keygroup only. 5.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. 89
To load a keygroup insert effect in the Pad Mixer
: 1.
Use the
Program
field at the top of the screen to select the desired program. Alternatively, use the the top of the screen to select the desired track—the program it uses will be selected automatically.
Track
field at 2.
Press a
pad
to select its corresponding keygroup, or tap it on the screen. Alternatively, use the
Keygroup
field below the
Program
field.
Important
: Remember that the effect will be applied to that keygroup only. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, double-tap the desired
pad
on the screen. You could also select one of the four
Insert
tabs at the bottom of the screen, and then use the
data dial
or
–
/
+
buttons to select an effect immediately.
To load a keygroup insert effect in Program Edit Mode
: 1.
While using the desired program, press the desired field at the top of the screen.
pad
to select its keygroup. Alternatively, use the
Keygroup
2.
Tap the
Effects
tab in the lower-right corner, and use it to load or edit effects. 90
Audio Tracks
You can load up to four insert effects to each audio track. You can do this in Main Mode and the Channel Mixer.
To load an audio track insert effect in Main Mode
: 1.
When the
Audio
tab is selected (in the lower-left corner), use the
Track
field to select the audio track. 2.
If the channel strip is not already shown, tap the small
eye icon
below the
Project
field to show it. 3.
Tap the
waveform icon
audio track. at the top of the channel strip. The channel strip will now show settings for the current 4.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects.
To load an audio track insert effect in the Channel Mixer
: 1.
Use the
Mixer
field in the upper-left corner to select
Audio Tracks
. 2.
In the touchscreen, tap the
pad
that corresponds to the desired audio track. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad
on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately. 91
Programs
You can load up to four insert effects to each program. You can do this in Main Mode, XYFX Mode, and the Channel Mixer.
Note
: In XYFX Mode, the effects act like a single insert effect on that program. In fact,
XYFX
is the name of the insert effect that is loaded when use this mode.
To load a program insert effect in Main Mode
: 1.
When the
MIDI
tab is selected (in the lower-left corner), use the
Track
field to select the track that uses the program with the desired pad—the program it uses will be selected automatically. 2.
3.
If the channel strip is not already shown, tap the small Tap the
four-pads icon
program.
eye icon
below the
Project
field to show it. at the top of the channel strip. The channel strip will now show settings for the current 4.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. 92
To load XYFX for a program in XYFX Mode
: 1.
Select the desired program in another mode, and then enter XYFX Mode. 2.
If you have not yet used XYFX Mode for this program, tap
Insert XYFX
on the screen to load it and show the XY pad.
Note
: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this. If you have already used XYFX Mode for this program, the XY pad will appear. 3.
Tap
XYFX Location
in the upper-left corner, and select
Program
. 4.
If the
Setup
panel is not shown, tap
Setup
in the lower-right corner to show it. 5.
Use the
Preset
field to load an effect. Use the controls below the
Preset
field to edit the effect.
To load a program insert effect in the Channel Mixer
: 1.
Use the
Mixer
field in the upper-left corner to select
Programs
. 2.
In the touchscreen, tap the
pad
that corresponds to the desired program. Alternatively, double-tap the
Program
field below the
Mixer
field and tap the desired program. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad
on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately. 93
Submixes
You can load up to four insert effects to each submix. You can do this in the Channel Mixer only.
Important
: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software.
To load a submix insert effect
: 1.
2.
Use the
Mixer
field in the upper-left corner to select
Submixes
. In the touchscreen, tap the
pad
that corresponds to the desired program. Alternatively, double-tap the
Submix
field below the
Mixer
field and tap the desired program. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad
on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately. 94
Masters
You can load up to four insert effects to each master output (a stereo pair of channels:
Outputs 1
/
2
,
Outputs 3
/
4
, etc.). You can do this in Main Mode or the Channel Mixer.
To load a master insert effect in Main Mode
: 1.
If the channel strip is not already shown, tap the small
eye icon
below the
Project
field to show it. 2.
Tap the
crown icon
master output. at the top of the channel strip. The channel strip will now show settings for the current 3.
Use the
Outputs 3
/
4
, etc.). field at the top of the channel strip to select the desired master output (
Outputs 1
/
2
,
Outputs
4.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects.
To load a master insert effect in the Channel Mixer
: 1.
Use the
Mixer
field in the upper-left corner to select
Masters
. 2.
In the touchscreen, tap the
pad
that corresponds to the desired master output (
Outputs 1
/
2
,
Outputs 3
/
4
, etc.). Alternatively, double-tap the
Outputs
field below the
Mixer
field. 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad
on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately. 95
Send
/
Return Effects
Send/return effects work in the following way: 1.
A
pad
,
keygroup
,
audio track
,
program
, or
submix
sends its audio to a
return
at a designated
send level
. 2.
That audio is processed by the effects on the return. Each return can have up to activated.
four insert effects
loaded and 3.
The processed audio is sent to a pair of master outputs (stereo) or a single master output (mono). You can load send/return effects and set return levels only in the Channel Mixer, described below. The rest of this section describes the different ways to set the desired send levels for pads, keygroups, programs, or submixes.
To load a send
/
return effect to a return
: 1.
2.
In the Channel Mixer, use the In the touchscreen, tap the below the
Mixer
field.
Mixer pad
field in the upper-left corner to select
Returns
. that corresponds to the desired return. Alternatively, double-tap the
Return
field 3.
Tap the area under
Inserts
, and then use the screen that appears to load or edit effects. Alternatively, tap the
Insert
tab at the bottom of the screen (tap it multiple times to select a different insert slot), and then double-tap the desired
pad
on the screen. You could also use the
data dial
or
–
/
+
buttons to select an effect immediately.
To set the return level
: 1.
2.
3.
In the Channel Mixer, use the Tap the
Level
tab in the lower-left corner. In the touchscreen, tap the below the
Mixer
field.
Mixer pad
field in the upper-left corner to select
Returns
. that corresponds to the desired return. Alternatively, double-tap the
Return
field 4.
To adjust the level of the currently selected return
, use the
data dial
or
–
/
+
buttons. Alternatively, use the
level slider
in the channel strip, or turn the corresponding
Q-Link knob
.
To make finer adjustments
, double tap the
pad
on the screen and adjust the larger version of the slider that appears. 96
Pads
You can set the send levels for pads in Program Edit Mode or the Pad Mixer.
To set the send levels for a pad in Program Edit Mode
: 1.
While editing the desired program in Program Edit Mode, press the desired
pad
to select it. 2.
3.
Tap the Use the
Effects Send
tab in the lower-right corner. knobs to set the send level for each return.
To set the send levels for a pad in the Pad Mixer
: 1.
Use the
Program
field at the top of the screen to select the desired program. Alternatively, use the
Track
field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
Tap the
Send
tab at the bottom of the screen (tap it multiple times to select a different send level). 3.
Press the desired
pad
to select it, or tap it on the screen. Alternatively, double-tap the
Pad
field below the
Program
field. 4.
To set the send level
, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the
pad
on the screen and adjust the larger version of the slider that appears. 97
Keygroups
You can set the send levels for keygroups in Program Edit Mode or the Pad Mixer.
To set the send levels for a keygroup in Program Edit Mode
: 1.
While using the desired program, press the desired
pad
to select its keygroup. Alternatively, use the
Keygroup
field at the top of the screen. 2.
Tap the
Effects
tab in the lower-right corner. 3.
Use the
Send
knobs to set the send level for each return.
To set the send levels for a keygroup in the Pad Mixer
: 1.
Use the
Program
field at the top of the screen to select the desired program. Alternatively, use the
Track
field at the top of the screen to select the desired track—the program it uses will be selected automatically. 2.
3.
Tap the
Send
tab at the bottom of the screen (tap it multiple times to select a different send level). Press the desired
pad
to select its corresponding keygroup, or tap it on the screen. Alternatively, double-tap the
Keygroup
field below the
Program
field. 4.
To set the send level
, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the
pad
on the screen and adjust the larger version of the slider that appears. 98
Audio Tracks
You can set the send levels for audio tracks in the Channel Mixer only.
To set the send levels for an audio track
: 1.
2.
3.
In the Channel Mixer, use the Tap the
Send
tab at the bottom of the screen (tap it multiple times to select a different send level). In the touchscreen, tap the
Mixer pad
field in the upper-left corner to select
Audio Tracks
. that corresponds to the desired audio track. Alternatively, double-tap the
Track
field below the
Mixer
field.
Audio
4.
To set the send level
, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
screen and adjust the larger version of the slider that appears. , double-tap the
pad
on the
Programs
You can set the send levels for programs in the Channel Mixer only.
To set the send levels for a program
: 1.
2.
3.
In the Channel Mixer, use the Tap the
Send
tab at the bottom of the screen (tap it multiple times to select a different send level). In the touchscreen, tap the field below the
Mixer
field.
Mixer pad
field in the upper-left corner to select
Programs
. that corresponds to the desired program. Alternatively, double-tap the
Program
4.
To set the send level
, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
, double-tap the
pad
on the screen and adjust the larger version of the slider that appears. 99
Submixes
You can set the send levels for submixes in the Channel Mixer only.
Important
: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software.
To set the send levels for a submix
: 1.
2.
3.
In the Channel Mixer, use the Tap the
Send
tab at the bottom of the screen (tap it multiple times to select a different send level). In the touchscreen, tap the field below the
Mixer
field.
Mixer pad
field in the upper-left corner to select
Submixes
. that corresponds to the desired submix. Alternatively, double-tap the
Submix
4.
To set the send level
, use the
data dial
or
–
/
+
buttons.
To make finer adjustments
screen and adjust the larger version of the slider that appears. , double-tap the
pad
on the 100
Audio Mixdown
The Audio Mixdown screen lets you render and export either the current sequence or song as an audio file. In Song Mode, this will export the entire song. In Main Mode, this will export the current sequence only.
To open the Audio Mixdown screen in Song Mode
, tap
Export
at the bottom edge of the screen.
To open the Audio Mixdown screen in Main Mode
, tap the
Project
field in the upper-left corner of the screen, and then tap
Export
.
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, one-shot 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,
Submix 1
–
8
or
Out 1,2
–
31,32
in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). The mixdown will be taken from these outputs. Check
Separate Programs
to create a mixdown of each program used in 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
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 export the return channel signals as separate files. If your
Render Source
is set to
Stereo Output
, tap
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. 101
File Formats
Tap
WAV
,
AIFF
, or
MP3
to select the file format of the mixdown. For
WAV
and
AIFF
files, use
the Bit Depth
field to select a bit depth of
8
,
16
, or
24
bits, or
32
bits, floating point (
32 F
). For
MP3
files, you can select a
Bitrate
of
128
,
160
,
192
, or
320
kbps. Use the
Sample Rate
field to select a sample rate of
44.1 kHz
,
48 kHz
,
88.2 kHz
, or
96 kHz
. In most cases, we recommend selecting
44.1 kHz
. Tap
Export
to enter the
Save
screen where you can select a name and location to save your audio mixdown. Tap
Cancel
or the
icon
in the upper-left corner to return to the previous screen.
Battery Usage Important
: Only MPC Live may use battery power. MPC X and MPC Touch must be connected to a power outlet. Although you can power MPC Live by from a power outlet (using the included power adapter), you can use its internal battery, which typically has four hours of life, depending on CPU and how you’re using MPC Live. While powering MPC Live from its internal battery, the
battery icon
in upper-right corner of the touchscreen will show its current battery life. (The icon below it indicates whether MPC Live is in Standalone Mode or Controller Mode.)
To view MPC Live’s system resources
(battery life, CPU, and RAM usage), tap the
battery icon
in upper-right corner of the touchscreen. The System Resources window will appear, showing percentages to indicate the current battery life, CPU, RAM usage (
Mem
), and storage device space usage. See
to learn more about the information shown in this window.
To charge MPC Live’s internal battery
, connect its
power input
to a power outlet using the included power adapter. The
charging indicator
light (behind the vent on the rear panel) will turn on while charging. When the battery is fully charged or when it is disconnected from a power outlet, then this light will turn off. 102
Standalone vs. Controller Mode
MPC X and MPC Live can function in two ways:
Standalone Mode
and
Controller Mode
. (MPC Touch already operates as a controller only.)
To enter Standalone Mode
, do one of the following: • If MPC X or MPC Live is
not
connected to a computer, simply press the
power switch
to power it on. • If MPC X or MPC Live is connected to your computer and you want to keep your MPC software open, press
Menu
to enter the Menu, and then tap the
monitor
/
cable icon
in the upper-right corner. When the
Switch to Standalone Mode
window appears, tap
Standalone
to continue. Your project will remain open on your computer, and you can continue to work on it independently from the project shown on the screen. (If you tap
Cancel
, you can continue using your MPC hardware in Controller Mode.) • If MPC X or MPC Live is connected to your computer and you want to close the MPC software, simply close the MPC software on your computer. When
Looking for computer
appears on your MPC hardware’s touchscreen, tap
Standalone
. If the
Restart as Standalone
window appears, tap
Yes
to continue. (If you tap
Cancel
, you can reopen your MPC software and continue using your MPC hardware in Controller Mode.) In Standalone Mode: • An
MPC chip icon
corner. will appear in the upper-right • The MPC hardware is
not
communicating with a computer over a USB connection. • Any files (projects, samples, etc.) that you save or load are in the internal hard drive on your MPC X or MPC Live or a connected USB drive or SD card. • Plugin programs are disabled. 103
To enter Controller Mode
: 1.
Make sure the
USB-B Port
on your MPC X or MPC Live is connected to your computer. 2.
On your computer, open the MPC software. 3.
If MPC X or MPC Live is powered off, press the
power switch
to power it on. 4.
If MPC X or MPC Live is currently in Standalone Mode, press
Menu
to enter the Menu, and then tap the
MPC chip icon
in the upper-right corner. When the
Enter Controller Mode
window appears, tap
Controller Mode
to continue. (If you tap
Cancel
, you can continue using your MPC hardware in Standalone Mode.)
Looking for computer
may appear briefly on the screen before the MPC hardware recognizes the USB connection as a controller. In Controller Mode: • A
monitor
/
cable icon
right corner. will appear in the upper • The MPC hardware is communicating with a computer over a USB connection. • You can save or load files (projects, samples, etc.) to or from your computer as well as the internal hard drive on your MPC X or MPC Live or a connected USB drive or SD card. • Plugin programs are enabled. Remember to specify the disk directory where your plugins are located. This can be done in the software’s
Preferences
(in the
Edit
Menu). See the user guide in the MPC software to learn more: click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. • The touchscreen on your MPC hardware reflects what it is controlling in the software, but due to space and character limitations, the layout on the screen is different (e.g., parameter names may be abbreviated, the layout may be different or spread across multiple tabs, etc.). 104
Modes
The MPC hardware has a Menu page that lets you select any one of several modes. This chapter describes the various features and functions of each one. Click a button below to skip directly to that chapter.
Note
: The Menu above is available when the currently selected track is a MIDI track. When an
audio track is selected, it will show an icon for
While in
Main Mode
, the
Grid View
,
Audio Edit Mode
, the
Track View
, the
Step Sequencer
, or
XYFX Mode
, the left edge contains icons to quickly enter one of five modes. Using this strip of icons, you can easily jump between them:
To enter Main Mode
, tap the
house icon
.
To enter the Grid View
, tap the
grid icon
. The
MIDI
tab in the lower-left corner of the screen in Main Mode must be selected for this icon to be shown.
To enter Audio Edit Mode
, tap the
waveform-and-box icon
. This
Audio
tab in the lower-left corner of the screen in Main Mode must be selected for this icon to be shown.
To enter the Track View
, tap the
bars-and-magnifying-glass icon
.
To enter the Step Sequencer
, tap the
vertical-bars icon
.
To enter XYFX Mode
, tap the
XY icon
. 105
Main Mode
Main Mode gives you an overview of the most-used functions.
To enter Main Mode
, do one of the following: • • Press Press
Main Menu
. , and then tap
Main
. The top of the screen shows the project name and timing information. The
Project
field shows the name of the current project.
To view the Project window
, tap the
Project
field. The Project window will appear, showing a list of available programs, sequences, and samples in the project. In the
Project
window, in additional to typical functions you can perform in lists, you can do any of the following:
To move through a list
, swipe up or down.
To expand or collapse the list of programs or sequences
, tap the arrow ( ∨ or
>
) to its left.
To select a program, sequence, or sample
, tap it.
To immediately select a sample and enter Sample Edit Mode
, double-tap it.
To save the project
, tap
Save
.
To save the project with another name
, tap
Save As
. Use the
Save
window that appears to save the project.
To return to the previous screen
, tap the
X
in the upper-right corner or anywhere outside the window.
To delete samples from the project
(to create more free RAM space for sampling time, audio recording, etc.), tap
Purge
. In the screen that appears, tap
Unused Samples
to delete all unused samples from the project, tap
All Samples
to delete all samples from the project (from all programs, sequences, and audio or MIDI tracks), or tap
Cancel
to return to the previous screen.
To export the current sequence
, tap
Export
. Use the
Audio Mixdown
screen that appears to export a song (see
to learn about the settings in this window). To export the song
106
The
In
and
Out
boxes indicate your MPC hardware is receiving or sending (respectively) MIDI messages from or to your computer. The time counter at the top of the screen the current playhead position. This is shown in most of the modes. See
to learn about this. The
TC icon
opens the
Timing Correct
window, which contains various settings to help quantize the note events in
to learn about this. The
Metro
/
metronome icon
opens the
Click
/
Metro
menu, which contains all settings regarding the metronome
The automation button indicates the global automation state. This is shown in several modes. See
In Main Mode, these are the buttons at the bottom of the screen:
MIDI
: Tap this button to view only MIDI tracks in the
Track
section.
Audio
: Tap this button to view only audio tracks in the
Track
section.
Track –
/
+
: Tap one of these buttons to switch to the previous or next track, respectively.
Mute
: Tap this button to mute the current track.
Solo
: Tap this button to solo the current track. 107
On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip.
To show or hide the channel strip
, tap the
eye icon
. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the current pad, program, track, or master output, depending on the currently selected icon:
To view the pad channel strip
, tap the
single-pad icon
.
To view the program channel strip
, tap the
four-squares icon
.
To view the track channel strip
, tap the
bars icon
(when the
MIDI
tab is selected) or the
waveform icon
(when the
Audio
tab is selected).
To view the master channel strip
, tap the
crown icon
. When viewing the
pad channel strip
while using a drum program, keygroup program, or clip program: The first field shows the current pad number. Press a pad or tap the field to select a different pad.
Tip
: This is useful for mixing your pads without having to enter the Pad Mixer. The second field shows where the pad is routed, which you can change:
Program
(the usual setting);
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that pad. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Solo
or
Mute
to solo or mute the pad (respectively). Adjust the
pan knob
or
level slider
to change the panning or level of the pad. The
green
level meter next to the slider shows the pad’s current volume level in
dB
. 108
When viewing the
program channel strip
while using a drum program, keygroup program, clip program, or plugin program: The first field shows the current program number and name (which you can change). The second field shows where the program is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that program. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Solo
or
Mute
to solo or mute the program (respectively). Alternatively, press
Solo
or
Mute
under the LED meters (MPC X).
To change the program’s automation
, tap the
program automation button
or press
Read
/
Write
(MPC X) to cycle through its three states: When
off
, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (
R
) and Write (
W
) only, but you can override this and turn it off by pressing and holding
Shift
while tapping the button.
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. (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 tapping the global automation button in the upper-right corner of the screen. See
to learn about this. Adjust the
pan knob
or
level slider
to change the panning or level of the program. The
green
level meter next to the slider shows the program’s current volume level in
dB
. When viewing the
track channel strip
while using a MIDI track: The first field shows the current track (which you can change) and its name. The second field shows the name of the program the track is using. Tap
Solo
or
Mute
to solo or mute the track (respectively). Adjust the
pan knob
or
level slider
to change the panning or level of the track. 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. 109
When viewing the
track channel strip
while using an audio track: The first field defines the input source of the external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
–
31,32
in Controller Mode) or a single input (
Input 1
–
4
in Standalone Mode,
Input 1
–
32
in Controller Mode). The second field shows where the track is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that track. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Solo
or
Mute
to solo or mute the track (respectively). Alternatively, press
Solo
or
Mute
under the LED meters (MPC X).
To change the audio track’s automation
, tap the
track automation button
or press
Read
/
Write
(MPC X) to cycle through its three states: When
off
, the audio track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (
R
) and Write (
W
) only, but you can override this and turn it off by pressing and holding
Shift
while pressing or tapping the button.
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. (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 tapping the global automation button in the upper-right corner of the screen. See
to learn about this. Adjust the
pan knob
or
level slider
to change the panning or level of the track. The
green
level meter next to the slider shows the track’s current volume level in
dB
.
To record-enable the track
, tap the
Record Arm
button or press
Rec Arm
(MPC X). When you begin audio recording, the audio signal will be recorded to this track.
Tip
: You can select multiple tracks in the Track View by pressing and holding
Shift
while tapping the
Arm
button to each track. When viewing the
master channel strip
: The first field shows the current master output as a stereo pair (which you can change). The
Inserts
field shows any enabled or disabled effects for that pair of outputs. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Mute
to mute the master output. Adjust the
pan knob
or
level slider
to change the panning or level of the master output. The
green
level meter next to the slider shows the outputs’ current volume level in
dB
. 110
Sequence Section
The
Sequence
section shows the current sequence and its information. Use
Sequence
field to select a sequence.
To edit the name of the sequence
, tap the
cursor icon
on the right edge of the section, and use the virtual keyboard that appears. Use the
BPM
field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo
(
Sequence
)
or a master tempo
(
Master
), tap the
Sequence
/
Master
button under the
BPM
field. Alternatively, press and hold
Shift
+
Tap
. Use the
Bars
field to adjust the length of the sequence in bars. The
Loop
button shows whether the sequence (or a part of it) will loop or not.
To enable or disable looping
, tap the button.
To set the start point and end point of loop
, tap the
Start
or
End
field (respectively) and then use the
data dial
or the
–
/
+
buttons, or double-tap the field and use the numeric keyboard that appears.
Note
: The
Last Bar
value of the
Delete Bars
and
Copy Bars
processes depends on the total length of the sequence. Use the
Transpose
sequence. field to set the transposition (in semitones) of the entire 111
To edit the sequence
, tap the
pencil icon
on the right edge of the section. The
Sequence Edit
/
Copy
window will open. You can use any of these functions as described below, though there are fewer options for audio tracks than for MIDI tracks.
To return to Main Mode
, tap
Cancel
or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press
Main
.
To edit the name of the sequence
, tap the top of the screen and use the virtual keyboard that appears. 112
The
Erase
function erases all or part of a track in a specific sequence.
To select the sequence you want to erase
, use the
Sequence
field.
To select the track you want to erase within the sequence
, use the
Track
field.
To set the time range of the sequence you want to erase
, use the
Bar
,
Beat
, and
Tick
fields. The left fields set the start of the time range, and the right fields set the end of the time range.
To select what types of events you erase
, select one of the
Erase
options:
All
erases all pad events from the designated time range and reset all of its settings.
Automation
erases only automation from the designated time range.
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. This option is available only for MIDI tracks, not audio tracks.
Except Note
erases everything
except
pad events from the designated time range. This option is available only for MIDI tracks, not audio tracks.
To confirm your choice
, tap
Do It
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. The
Clear
function erases
all
events from the sequence and resets
all
of its settings.
To confirm your choice
, tap
Clear
.
To return to the previous screen
, tap
Cancel
. 113
The
Transpose
function transposes a range of events on a track in a sequence. The events within that range will shift accordingly in the Grid View. This option is available for MIDI tracks only.
To select the sequence you want to transpose
, use the
Sequence
field.
To select the track you want to transpose within the sequence
, use the
Track
field.
To set the time range of the sequence you want to transpose
, use the two sets of
Bar
,
Beat
, and
Tick
fields. The 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.
To confirm your choice
, tap
Do It
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. The
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 you will be asked if you want to overwrite the existing sample with this new one or cancel.
To continue and save the sequence over the existing one
, tap
Replace
.
To cancel
, tap
Cancel
. 114
The
Delete Bars
function removes a range of bars from a sequence.
To select the sequence whose bars you want to delete
, use the
Sequence
field.
To set the range of bars you want to delete
, use the
First Bar
and
Last Bar
fields. The bar in each field and all bars in between them will be deleted.
To confirm your choice
, tap
Do It
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. The
Insert Bars
function adds empty bars to a sequence at a specified point.
To select the desired sequence
, use the
Sequence
field.
To set how many bars you will insert
, use the
# of Bars
field.
To set the time signature of the inserted bars
, use the two
Time Sig
fields.
To set where you will insert the bars
, use the
Before Bar
field. The bars will be inserted before this one.
To confirm your choice
, tap
Do It
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. The
Half Length
function will
immediately
halve the length of the sequence (without deleting any note events). The
Double Length
function will
immediately
double the sequence and copy all events from the first half to the second half. 115
The
Copy Sequence
function copies the contents of one sequence to another.
To select the
“
source
”
sequence
, use the
Copy Contents of Sequence
field. This is the sequence whose events you want to copy.
To select the
“
destination
”
sequence
, use the
Over Contents of Sequence
field. This is the sequence where the source sequence will be copied.
To confirm your choice
, tap
Do It
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. The
Copy Bars
function copies a range of bars from a sequence and adds them to another at a specified point.
To select the
“
source
”
sequence
, use the
From Sequence
field. This is the sequence whose bars you want to copy.
To set the range of bars to copy in the source sequence
, use the
First Bar
and
Last Bar
fields.
To select the
“
destination
”
sequence
, use the
To Sequence
field. This is the sequence where the source sequence bars will be copied.
To set where you want to add the copied bars
, use the
After Bar
field. The copied bars will be inserted after this one.
To set how many instances of the copied bars you want to add
, use the
Copies
field.
To overwrite the destination sequence
, tap
Replace
.
To add the events to the destination sequence without erasing anything
, tap
Merge
.
To return to the previous screen
, tap
Back
or anywhere outside the window.
To cancel and return to Main Mode
, tap
Cancel
. 116
The
Copy Events
function copies a range of events or selected audio track regions from a sequence and adds them to another at a specified point.
To select the
“
source
”
sequence
, use the
From Sequence
field. This is the sequence whose content you want to copy.
To select the
“
source
”
track
, use the
From Track
field. This is the track whose content you want to copy.
To set the time range of the events or the audio track you want to copy
, use the
Bar
,
Beat
, and
Tick
fields. The left fields set the start of the time range, and the right fields set the end of the time range.
To set what content is copied
, use the field below the dotted arrow.
Copy All Events
will copy and paste all events in the track.
Copy Only Selected Events
will copy and paste only the events that are currently selected.
To select the
“
destination
”
sequence
, use the
To Sequence
field. This is the sequence where the content of the source sequence will be copied.
To select the
“
destination
”
track
, use the
To Track
field. This is the track where the content of the source track will be copied.
To set where you want to add the copied events or audio track
, use the
Bar
,
Beat
, and
Tick
fields. The events or audio track will be added after this point.
To set how many instances of the copied events or audio track you want to add
, use the
Copies
field.
To set whether you want to copy the events in the time range or the selected notes in the Grid View or List Edit Mode
, use the
Selection
field. Set this to
All events
to copy the notes in the time range determined by the
Bar
,
Beat
, and
Tick
fields above, or set this to
Selected events
to copy only the events currently selected in the Grid View or List Edit Mode. This field is available for MIDI tracks only.
To overwrite the destination sequence
, tap
Replace
.
To add the events to the destination sequence without erasing anything
, tap
Merge
.
To return to the previous screen
, tap anywhere outside the window.
Back
or
To cancel and return to Main Mode
, tap
Cancel
. 117
The
Save Current Sequence
function saves the current sequence to an external storage device or the internal drive of MPC X or MPC Live.
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file paths (see
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 118
Track Section
The
Track
section shows the current track, program type, and its information. The
Track
section while using a MIDI track. The
Track
field shows the track number and its name. The
Track
section while using an audio track.
To edit the name of the track
, tap the
cursor icon
on the right edge of the section and use the virtual keyboard that appears.
While using a MIDI track
: The
program selector
indicates the type of program through which the track is being routed. The specific program name is displayed below in the
Program
section. You can use the program selector to change program type (and then select a specific program of that type in the
Program
section below it).
To select a drum program
, tap the
four-squares icon
.
To select a keygroup program
, tap the
piano-keys icon
.
To select a clip program
, tap the
play-button icon
.
To select a MIDI program
, tap the
bars icon
.
To select a CV program
, tap the
CV icon
.
To select a plugin program
, tap the
plug icon
. For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. Use the
Length
field to set how long the track is in beats. If you select the minimum value,
Seq
or
0
(if you use the numeric keypad), the track will be the exact same length as its sequence.
Tip
: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line. Use the
Velocity
field to set how loudly or quietly a track plays relative to its recorded levels. When set to
50%
, the track will be played with half the velocity it was originally played. When set to
200%
, the track will play twice as loud. The maximum velocity level is still
127
, though. Use the
Transpose
field to set the transposition (in semitones) of the entire track. 119
While using an audio track
: Tap the
Record Arm
button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.
Tip
: You can select multiple tracks in the Track View by pressing and holding
Shift
while tapping the
Arm
button to each track. Use the
Monitor
button to set how your audio track will be monitored. Tapping it will cycle through its three states: When set to
Auto
, you will hear incoming audio while the track is record-enabled only. When
on
, you will hear incoming audio whether or not the track is record-enabled. When
off
, you will never hear any incoming audio.
To edit the track
, tap the
pencil icon
on the right edge of the section. The Track Edit window will open. While using MIDI tracks, you can use any of these functions as described below.
To return to Main Mode
, tap
Cancel
or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press
Main
.
To edit the name of the track
, tap the top of the screen and use the virtual keyboard that appears. 120
The
Clear
function erases
all
events from the track and resets
all
of its settings.
To confirm your choice
, tap
Clear
.
To return to the previous screen
, tap
Cancel
. The
Explode
function
immediately
splits the current track into multiple tracks—one for each distinct pad or note (pitch, not event). The current track also remains present and intact, while each track created from it is labeled with the track name and pad name or number. The
Double-Speed Events
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. The
Half-Speed Events
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. The
Copy Track
function copies the contents of one track to another.
To select the
“
source
”
track
, tap the
Copy Contents of Track
field. This is the track whose events you want to copy.
To select the
“
destination
”
track
, tap the
Over Contents of Track
field. This is the track where the source track will be copied.
To confirm your choice
, tap
Do It
.
To cancel and return to Main Mode
, tap
Cancel
. The
Split Events
function divides note events to create new rhythms and patterns.
To select the how many events to create,
use the
Into
slider. Select
2
to
32
events.
To apply the split to selected events,
tap the
Only selected events
field. Leave this unchecked to split all note events in the track.
To confirm your choice
, tap
Do It
.
To cancel and return to Main Mode
, tap
Cancel
. 121
The
Pitch Quantize
function forces the pitches of note events into a specific scale.
To select the desired root note of the scale
, use the
Root Note
field.
To select a type of scale
, use the
Scale
field.
To determine which note events will be quantized
, tap the
Only apply to selected events
checkbox. When
on
, only the currently selected note events will be quantized. When
off
,
all
pitches in the current track will be quantized.
To set lowest-possible and highest-possible pitches where the quantized note events will be placed
, use the
Start Note
and
End Note
fields (respectively). If a note event is originally outside of this range, it will be forced to the nearest pitch (within the scale) inside the range.
To continue and quantize the note events
, tap
Do It
.
To cancel
, tap
Close
. The
Humanize
function applies randomization to the timing, length, and/or velocity of MIDI note events.
To select whether or not humanization will be applied to the timing of MIDI events
, tap the
Humanize Time
checkbox.
To select the maximum number of pulses by which the timing of an event will be adjusted
, use the
Amount
(
Pulses
) slider.
To set how dramatically the humanization effect is applied to the timing
, use the
Eagerness
slider. Negative values correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”
To set whether or not humanization will be applied to the duration of MIDI note events
, tap the
Humanize Note Length
checkbox.
To set how dramatically the humanization effect is applied to note lengths
, use the
Length
(
%
) slider.
To set whether or not humanization will be applied to the velocities of MIDI note events
, tap the
Humanize Velocity
checkbox.
To set how dramatically the humanization effect is applied to note velocities
, use the
Strength
(
%
) slider.
To determine which notes will use these humanization values
, tap the
Only Apply to Selected Events
checkbox. When
on
, just the currently selected notes will be humanized. When
off
, all notes in the track will be humanized.
To apply humanization and keep this window open
, tap
Apply
.
To apply humanization and close the window
, tap
Do It
.
To close the window without making any changes
, tap
Close
. 122
The
Generate Random Events
function creates random melodic or drum patterns on the current MIDI track.
To select the type of events you want to create
, use the
Event Type
field to select
Drum Events
or
Melodic Events
.
To select how the events will be created relative to the existing events on the track
, use the
Replace
field:
Replace All Events
: Select this option to replace all events on the track with the randomly generated ones.
Replace Events in Note Range
: Select this option to replace all events in the designated note range on the track with the randomly generated ones. Use the
Bank
or
Start Pad
and
End Pad
menus to set the note range for drum events or the
Start Note
and
End Note
menus to set the note range for melodic events.
Add to Existing Events
: Select this option to add the randomly generated events to the track without replacing or overwriting the existing ones.
To set how many bars the events will use
, use the
Pattern Size
(
Bars
) field. The highest possible value is the number of bars in the current sequence.
To select the duration of the events
, use the
Note Length
field. (This feature is nonfunctional if
Legato
is enabled while generating melodic events.)
To generate the events and keep this window open
, tap
Apply
.
To generate the events and close the window
, tap
Do It
.
To close the window without generating any events
, tap
Close
. If
Event Type
is set to
Drum Events
:
To select the pad bank that will be used to generate the events
, use the
Bank
field or select
Range
to use the
Start Pad
and
End Pad
menus to define a specific pad range instead.
To define a specific pad range over which the events will be generated
, use the
Start Pad
or
End Pad
fields. You can use these fields only if the
Bank
menu is set to
Range
.
To set how closely together the events will be placed in the track
, use the
Density
(
%
) slider.
To set how widely or narrowly the rhythmic patterns of the generated notes vary
, use the
Rhythm Variation
slider. 123
If
Event Type
is set to
Melodic Events
:
To define a specific note range over which the events will be generated
, use the
Start Note
or
End Note
fields.
To enable or disable legato
, tap the
Legato
checkbox. When
on
, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical. When
off
, the generated notes will use the duration set by the
Note Length
menu.
To set the maximum number of note events that can be sounding simultaneously in the track
, use the
Polyphony
field to select
1
–
8
.
To determine whether or not the notes will use a scale
, tap the
Constrain Notes to Scale
checkbox. When
on
, the notes will be within the scale determined by the
Scale
menu. When
off
, the notes will be chromatic.
To set how closely together the events will be placed in the track
, use the
Density
(
%
) slider.
To set the root note of the scale that the notes will use
, use the
Root Note
field.
To select the scale or mode that the generated notes will use
, use the
Scale
field. The
Bounce to Sample
function
immediately
renders the track (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 track name. This function does not work for tracks that use MIDI programs or CV programs. If you have already used this function on this track, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
To continue and save the track over the existing one
, tap
Replace
.
To cancel
, tap
Cancel
. 124
The
Bounce to Audio Track
function
immediately
renders the track (for the current sequence only) as an audio track in the project. The Main Mode will automatically switch to the
Audio
tab. By default, it will be named
Audio
and appended with a number (e.g.,
Audio 002
). This function does not work for tracks that use MIDI programs or CV programs. If you have already used this function on this track, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
To continue and save the track over the existing one
, tap
Replace
.
To cancel
, tap
Cancel
. The
Export as Pattern
function saves the track (for the current sequence only) as a pattern (
.mpcpattern
) to an external storage device or the internal drive of MPC X or MPC Live.
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file paths (see
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 125
While using audio tracks, you can use any of these functions as described below.
To return to Main Mode
, tap
Cancel
or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press
Main
.
To edit the name of the track
, tap the top of the screen and use the virtual keyboard that appears. The
Delete
function erases the entire audio track.
To confirm your choice
, tap
Clear
.
To return to the previous screen
, tap
Cancel
. The
Clear Regions
function erases all
regions
from the audio track without erasing the track itself. The
Reset Channel Strip
function: • • • • • clears all turns
Mute
resets the resets the turns the
Insert
, effect slots;
Solo
, automation, and
pan knob
to the center;
level slider Record Arm
to
0.00 dB
; and button off.
Monitor
It does not change the track’s inputs or outputs. off; 126
The
Copy Track
function copies the contents of one track to another.
To select the
“
source
”
track
, tap the
Copy Contents of Track
field. This is the track whose events you want to copy.
To select the
“
destination
”
track
, tap the
Over Contents of Track
field. This is the track where the source track will be copied.
To confirm your choice
, tap
Do It
.
To cancel and return to Main Mode
, tap
Cancel
or anywhere outside the window. The
Save Current Channel Strip
function saves the current settings of the track channel strip (for the current audio track) to an external storage device or the internal drive of MPC X or MPC Live.
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file paths (see
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 127
Program Section
The
Program
section shows the current program. This section will appear differently depending on the type of program selected in the
Track
section above it. For all program types
while using MIDI tracks
, you can do the following:
To edit the name of the program
, tap the
cursor icon
on the right edge of the section. Use the virtual keyboard that appears to enter a new name, and then tap
Do It
.
To create a new program of the currently selected type
, tap the
+ icon
. A new program of the same type will be created and appended with a number (e.g.,
Program 002
). For all program types
while using audio tracks
, you can do the following:
To change the input source
, tap
Input Config
. This will show or hide the track channel strip. If you are viewing the audio track channel strip (not the master channel strip), the first field will be automatically selected.
To enter Audio Edit Mode
, tap
Edit Audio
. This is the same as tapping the
waveform-and-box icon
on the left edge of the screen. While viewing drum programs, the
Drum Program
field shows the name of the program. Tap
Warp Samples
to enter the
first Sample
tab in Program Edit Mode immediately (see
to learn about this). Tap
Assign Samples
to enter the
Sample Assign
tab in the Browser immediately (see
Tap
Edit Samples
to enter Program Mode in Sample Edit Mode immediately (see
to learn about this). The sample shown will be the one in the top layer of the last pad you pressed.
While viewing keygroup programs, the
Keygroup Program
field shows the name of the program. While viewing clip programs, the
Clip Program
field shows the name of the program. Tap
Edit Clips
to enter Program Edit Mode, where you can assign samples (clips) to pads, edit each clip, and configure how each clip plays when launched (see
to learn about this). 128
While viewing plugin programs, the
Plugin Program
field shows the name of the program.
Important
: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software. Use the
Plugin
field to select the plugin the program is using. In the screen that appears, you can tap the
Type
or
Manufacturer
button at the bottom of the screen to enable or disable sorting of your plugins by type or maker.
Note
: You have to specify the disk directory where your plugins are located. This can be done in the software’s
Preferences
. See user guide in the MPC software to learn how to do this: click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. Use the
MIDI Ch
field to select the MIDI channel the program uses. Use this setting when you are working with a virtual instrument plugin that supports multi-mode. Use the
Preset
field to select a preset (if any) within the plugin the program is using. While viewing MIDI programs, the
MIDI Program
field shows the name of the program. Use the
MIDI Port
field to select the port over which the program sends its MIDI data.
Note
: You also have to configure the MIDI ports in the
Preferences
. See the user guide in the MPC software to learn how to do this: click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. Use the
Program Ch
field to select the program change message the program sends out. Use the
MIDI Ch
field to select the MIDI channel over which the program sends its MIDI data. Use the
Bank MSB
and
Bank LSB
fields to select the messages for Most Significant Byte and Least Significant Byte (respectively) that the program sends out. While viewing CV programs, the
CV Program
field shows the name of the program. Use the
Note
field to select the note tracking—the program’s note track:
Lowest
,
Highest
, or
Last
. Use the
CV Port
field to select the CV port the program is using. Use the
Gate Port
field to select the Gate port the program is using. Use the
Mod Wheel
field to select the CV port used by a modulation wheel on an external controller. Use the
Velocity Port
field to select CV port the program will use to transmit velocity values. 129
To edit the program
, tap the
pencil icon
on the right edge of the section. The
Program Edit
/
Copy
window will open. You can use any of these functions as described below.
To return to Main Mode
, tap
Cancel
or the left arrow ( ) in the upper-left corner of the screen. Alternatively, press
Main
.
To edit the name of the program
, tap the top of the screen and use the virtual keyboard that appears. The
Delete
function erases
all
events from the track and resets
all
of its settings.
To confirm your choice
, tap
Clear
.
To return to the previous screen
, tap
Cancel
. 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
). 130
The
Duplicate to Track
function immediately creates an identical program on a new track. The duplicate program will use the same name but appended with a number (e.g.,
Program 002
). The new track will be named
Track
and appended with a number (e.g.,
Track 06
). The
Bounce to Sample
function
immediately
renders all tracks that use that program (for the current sequence only) as an audio sample and places it in the project’s sample pool. By default, it will be named
Bounce -
and appended with the program name. This function does not work for MIDI programs or CV programs. If you have already used this function on this program, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
To continue and save the program over the existing one
, tap
Replace
.
To cancel
, tap
Cancel
. 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. If you have already used this function on this track, then you will be asked if you want to overwrite the existing sample with this new one or cancel.
To continue and save the track over the existing one
, tap
Replace
.
To cancel
, tap
Cancel
. The
Flatten Pad
function renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (
127
) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample. This function is useful if you need to reduce how CPU-intensive a pad or program is by essentially “embedding” the warping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum programs only. (This is the same as the
Flatten Pad
button shown at the top of the screen in Program Edit Mode.)
To select the pad
, press it or use the
Pad
menu.
To set the length of the audio tail
, use the
Audio Tail
field. This will 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, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.
To name the new sample
, tap the
Edit Name
field, and use the virtual keyboard that appears.
To confirm your choice
, tap
Do It
.
To cancel
, tap
Cancel
. 131
The
Save Current Program
or
Save Current Sample
function saves the current program or sample (the top layer of the last pad you pressed) (respectively) to an external storage device or the internal drive of MPC X or MPC Live.
To select the storage device you want to view
, tap it in the
Storage
column on the left.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To enter a folder
, double-tap it. Alternatively, turn the
data dial
or use the
–
/
+
buttons to move through the list, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a folder. You can also tap one of the five
folder buttons
in the upper-right to jump immediately to those pre-assigned file paths (see
To create a new folder
, tap
New Folder
, use the virtual keyboard that appears to enter a name, and then tap
Do It
. You will immediately enter the new folder.
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To name the file
, tap the
File Name
field at the bottom of the screen, and use the virtual keyboard that appears.
To save the file
, tap
Save
.
To cancel and return to the Menu
, tap
Cancel
. Alternatively, tap the
icon
in the upper-left corner. 132
Grid View
The Grid View lets you view and edit the note events of each track of a sequence in a project and their velocities. This mode has two different appearances: one for drum programs and one for keygroup programs, MIDI programs, and plugin programs. For drum programs, the left column shows you all available pads in a vertical view with their corresponding data. For keygroup programs, plugin programs, and MIDI programs, the left column shows a vertical “piano roll” keyboard.
To enter the Grid View
, press
Menu
, and then tap
Grid View
.
Note
: The Grid View option is available when the currently selected track is a MIDI track. When an audio track is selected, it will show an icon for Audio Edit Mode instead of Grid View. To select a MIDI track (and enable Grid View), press
Main
to enter Main Mode, and then tap
MIDI
in the lower-left corner. Grid View of a drum program. Grid View of a keygroup program or MIDI program. The top of the screen shows the track name, sequence and timing information, and editing tools. Use the
Track
field to select which track of the current sequence you want to show in the grid. Use the
Bars
field to set the length of the sequence. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the
to learn about this. 133
In the Grid View, these four tool icons enable you to use different functions in the grid. Tap one to select its mode:
Pencil
: Draw Mode:
To enter a note in an empty grid square
, tap the grid square.
To select a note
, tap it.
To move a note
, tap and drag it to another grid square.
To erase a note
, double-tap it.
Eraser
: Erase Mode:
To erase a note
, tap it.
Select Box
: Select Mode:
Note
: Notes will remain selected if you switch to another mode. The selection will change, however, if you press a pad while
Hitting Pad Selects All Events
is set to
On
.
To select a note
, tap it.
To select multiple notes
, tap and drag across the grid to create a box around them.
To move a note
, tap and drag it to another grid square.
To move multiple notes
, select them as described above, and tap and drag them.
To erase multiple notes
, select them as described above, and then select the
eraser tool
and tap any of the selected notes.
Magnifying Glass
: Navigation Mode:
To move to another part of the grid
, tap and drag it.
To zoom in or out
, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time. 134
The
Settings
window lets you configure certain Grid View settings.
To view the Settings
, tap the
gear icon
. Use the
Snap Mode
selector to set how events “snap” to the grid.
Absolute
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window). This is the typical and traditional method of using the snap/quantization feature.
Relative
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window)
plus
the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division). Use the
Hitting Pad Selects All Events
selector to turn the feature on or off. When on, pressing a pad will automatically select all note events for that pad in the sequence on that track. When off, pressing a pad will simply play its sound without selecting any note events. Use the
Auto-Scroll
selector to set how the screen behaves relative to the audio playhead.
Follow
: Depending on the zoom setting, the grid will scroll along in the background while keeping the audio playhead centered.
Page
: The grid will move to the “next page” to follow the audio playhead.
Off
: The grid will not move at all. These functions also apply to Audio Edit Mode, List Edit Mode, and Sample Edit Mode. 135
Regardless of which tool is selected, you can do any of the following to move, lengthen, shorten, or transpose any selected note/notes.
To automatically set the grid to view one pad bank and two bars
, tap the
grid-and-magnifying-glass icon
in the lower-left corner.
To undo your last action
, press
Undo
.
To redo the last action you undid
, press
Shift
+
Undo
/
Redo
.
To select all notes for a pad
, press the desired
pad
.
To move the selected notes
, tap
Nudge
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the notes left or right. By default, you can position notes only by quantization values defined by the
Time Correct
value (see
To move the selected notes without restricting
(“snapping”)
them to the quantization grid
, tap and hold
Don’t Snap
in the lower-left corner of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the notes. In this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected notes
(without changing their position), tap
Edit Start
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons.
To transpose the selected notes up or down
, tap
Transpose
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons.
To copy the selected notes instantly
, press
Copy
. The selected notes will be duplicated and start immediately after the end of the last selected note. Nudge will be automatically selected so you can immediately use the
data dial
to move the copied notes,
To switch to the previous or next track
, press and hold
Shift
, and then tap
Track –
or
Track +
(respectively) at the bottom of the screen.
To mute or solo the track
, press and hold
Shift
, and then tap
Mute
or
Solo
(respectively) at the bottom of the screen. 136
To open the Timing Correct window
, press and hold
Shift
, and then tap
TC
at the bottom of the screen. See
to learn about this.
To select a time division directly
, double-tap the
down arrow
( ) in the upper-left corner of the grid and select a time division.
To adjust the metronome settings
, press and hold
Shift
, and then tap
Click
at the bottom of the screen. See
The Grid View also contains a velocity lane where you can easily adjust note velocities. The velocity lane in the Grid View. The taller velocity lane in the Grid View.
To show or hide the velocity lane
: 1.
2.
3.
Tap the up
arrow
( ∧ ) button in the lower-right corner to show the velocity lane. Tap the up
arrow
( ∧ ) button once more to show a taller version of the velocity lane. The button will now show a
down arrow
( ∨ ). Tap the
down arrow
( ∨ ) to hide the velocity lane. Each note’s velocity is represented by a vertical bar. The higher and more red the bar is, the higher the velocity is. Yellow bars indicate a lower velocity. Bars with a gray line at the top indicate a currently selected note.
To adjust the velocity of the selected notes
, tap
Velocity
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons. The numeric value will appear on the screen. 137
Audio Edit Mode
Audio Edit Mode lets you view and edit the audio tracks of a sequence in a project.
To enter Audio Edit Mode
, press
Menu
, and then tap
Audio Edit Mode
.
Note
: The Audio Edit option is available when the currently selected track is an audio track. When a MIDI track is selected, it will show an icon for Grid View instead of Audio Edit Mode. To select an audio track (and enable Audio Edit Mode), press
Main
to enter Main Mode, and then tap
Audio
in the lower-left corner. Audio Edit Mode with channel strip hidden. Audio Edit Mode with channel strip shown. 138
Below is a brief step-by-step process so you can get started recording audio tracks quickly. Continue reading the rest of this chapter to learn how to use Audio Edit Mode in different cases.
To record in Audio Edit Mode
(or Main Mode): 1.
2.
If the channel strip is not already shown on the left side of the screen, tap the small
eye icon
to show it. Connect a synthesizer or other line-level audio source to the appropriate input/inputs of your MPC hardware. Set the
Line
/
Phono selector
appropriately, too. 3.
Double-tap the first field to select the input source of the external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
Standalone Mode,
Input 1
–
32
in Controller Mode). –
31,32
in Controller Mode) or a single input (
Input 1
–
4
in 4.
Double-tap the second field to select where the track is routed (
Out 1,2
–
7,8
in Standalone Mode,
Out 1,2
–
31,32
in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). 5.
Tap the
Monitor
button to set how your audio track will be monitored. Tapping it will cycle through its three states: When set to
Auto
, you will hear incoming audio while the track is record-enabled only. When
on
, you will hear incoming audio whether or not the track is record-enabled. When
off
, you will never hear any incoming audio. 6.
Turn the
3
/
4 Rec Gain
knob (MPC X) or
Rec Vol
knob (MPC Live, MPC Touch) to set the input level while sending an audio signal into your MPC hardware. 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). 7.
If
Mute
and
Solo
are on, tap or press them so they are
off
. We also recommend tapping the automation button so it is
off
/
gray
(not
green
/
Read
[
R
] or
red
/
Write
[
W
]). Alternatively, press
Read
/
Write
so it is off (MPC X). 8.
9.
Tap the
Rec Arm
button next to the 11.
To stop recording
, press
Stop
.
pan knob
Press
Rec
to record-arm the sequence. or press
Rec Arm
(MPC X) to record-enable the track. 10.
To start recording
, press
Play
or
Play Start
—then play your audio source. You should hear your existing sequence playing in the background. You’ll see the waveform appear as a single “track region” as you record. 139
The top of the screen shows the track name, sequence and timing information, and editing tools. Use the
Track
field to select which track of the current sequence you want to show in the grid. Use the
Bars
field to set the length of the sequence. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the
to learn about this. In Audio Edit Mode, these six tool icons enable you to use different functions in the track. Tap one to select its mode:
Marquee
: Marquee Mode:
To select a track region
, tap the upper third of it.
To move a track region
(or multiple selected track regions), tap and drag the upper third of it left or right.
To split the track at two specific points
(creating a track region on either side and between them), tap and drag across the middle third of it to create a translucent white box, and then tap the upper third of that box.
To shorten or lengthen a track region
(or multiple selected track regions), tap and drag the lower third of it left or right.
Arrow
: Selection Mode:
To select a track region
, tap it.
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
To move a track region
(or multiple selected track regions), tap and drag the upper third of it left or right.
To shorten or lengthen a track region
(or multiple selected track regions), tap its edge and drag it.
Eraser
: Erase Mode:
To select multiple track regions
, tap and drag across the grid to create a box that highlights them.
To erase a track region
(or multiple selected track regions), tap it. 140
Scissors
: Split Mode:
To split the track at a specific point
(creating a track region on either side), tap that point in the track.
To select a track region
, tap its left-most edge.
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
Mute
: Mute Mode:
To select multiple track regions
, tap and drag across the grid to create a box that highlights them. Double-tap the selected track regions to deselect them.
To mute or unmute a track region
(or multiple selected track regions), tap it.
Magnifying Glass
: Navigation Mode:
To move to another part of the track
, tap and drag it.
To zoom in or out
, spread or pinch your fingers (respectively) on the grid. You can do this vertically, horizontally, or both at the same time. The Settings window lets you configure certain Audio Edit Mode settings.
To view the Settings
, tap the
gear icon
. Use the
Snap Mode
selector to set how events “snap” to the grid.
Absolute
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window). This is the typical and traditional method of using the snap/quantization feature.
Relative
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window)
plus
the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division). Use the
Auto-Scroll
selector to set how the screen behaves relative to the audio playhead.
Follow
: Depending on the zoom setting, the waveform display will scroll along in the background while keeping the audio playhead centered.
Page
: The waveform display will move to the “next page” to follow the audio playhead.
Off
: The waveform display will not move at all. These functions also apply to the sample waveform in Sample Edit Mode. 141
On the left edge of the screen, next to the five mode icons, there are two small icons that control the channel strip.
To show or hide the channel strip
, tap the
eye icon
. The icon below the eye icon indicates the type of channel strip (see next description). The channel strip contains some important settings for the audio track or master output, depending on the currently selected icon:
To view the track channel strip
, tap the
waveform icon
.
To view the master channel strip
, tap the
crown icon
. When viewing the
track channel strip
while using an audio track: The first field defines the input source of the external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
–
31,32
in Controller Mode) or a single input (
Input 1
–
4
in Standalone Mode,
Input 1
–
32
in Controller Mode). The second field shows where the track is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that track. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Solo
or
Mute
to solo or mute the track (respectively). Tap the
Monitor
button to set how your audio track will be monitored. Tapping it will cycle through its three states: When set to
Auto
, you will hear incoming audio while the track is record enabled only. When
on
, you will hear incoming audio whether or not the track is record enabled. When
off
, you will never hear any incoming audio. 142
Tap the
track automation button
or press
Read
/
Write
(MPC X) to cycle through its three states: When
off
, the audio track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (
R
) and Write (
W
) only, but you can override this and turn it off by pressing and holding
Shift
while pressing or tapping the button.
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. (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 tapping the global automation button in the upper-right corner of the screen. See
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
, tap the
Record Arm
button or press
Rec Arm
(on MPC X when the track name is shown in the display strip below the
level meters
). When you begin audio recording, the audio signal will be recorded to this track.
Tip
: You can select multiple tracks in the Track View by pressing and holding
Shift
while tapping the
Arm
button to each track. When viewing the
master channel strip
: The first field shows the current master output as a stereo pair (which you can change). The
Inserts
field shows any enabled or disabled effects for that pair of outputs. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Mute
to mute the master output. Adjust the
pan knob
or
level slider
to change the panning or level of the master output. 143
Regardless of which tool is selected, you can do any of the following to edit the selected audio track regions.
Tip
: If you want to hear only the audio track while editing, use the
Solo
button in the
track channel strip
to solo it.
To select a track region
, tap the arrow icon to enter Selection Mode and tap a track region. When a track region is selected, all region parameters will be available to edit.
To undo your last action
, press
Undo
.
To redo the last action you undid
, press
Shift
+
Undo
/
Redo
.
To move the selected track region
, tap
Nudge
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the track region left or right. Alternatively, if the
arrow tool
or
marquee tool
are selected, tap and drag the upper third of the selected track region left or right. By default, you can move a track region only by quantization values defined by the
Time Correct
to learn about this).
To move the selected track region without restricting
(“snapping”)
it to the quantization grid
, tap and hold
Don’t Snap
in the lower-left corner of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the track region. In this case, each nudge is equivalent to four ticks.
To adjust the start point or end point of the selected track region
(without changing its position), tap
Edit Start
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons.
To split the track at the current playhead position
(creating a track region on either side), tap
Split
at the bottom of the screen.
To copy, cut, or paste the selected track region
, press
Copy
or press and hold
Shift
, and then tap
Copy
or
Cut
. Turn the
data dial
to move the highlighted track region, and then press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to paste it at its current location. Alternatively, press and hold
Shift
, and then tap
Paste
(respectively).
To cut, copy, or paste the selected track region
, press and hold
Shift
, and then tap
Cut
,
Copy
, or
Paste
(respectively) at the bottom of the screen.
To duplicate the selected track region
, tap
Duplicate
at the bottom of the screen. The duplicate track region will appear immediately after the original one.
To create a fade-in or fade out for the selected track region
, use the
Fade In
or
Fade Out
fields, respectively. The fades will be shown as a sloped line at the start or end of the track region.
To set the level of the selected track region
, use the
Level
field. The waveform amplitude will change accordingly. 144
To reverse the selected track region
, tap
Reverse
.
To mute the selected track region
, tap
Mute
.
To lengthen or shorten the selected track region without changing its pitch
, tap
Warp
, which will enable the
Semi
,
Fine
, and
BPM
fields next to it. Use the
BPM
field to change the tempo, which will change the length of the track region accordingly. Use the
Semi
and
Fine
fields if you want to change the pitch (this is useful for matching the durations of two samples with different pitches).
Tip
: You can configure audio track recording to ensure the resulting track region is warped automatically. You can then adjust the sequence tempo while track region remains in time. See
learn about this.
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.”
Note
: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following: • • • Minimize the amount of pitch adjustment (e.g., the Avoid warping very small track regions.
Semi
and
Fine
fields). Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices [of the polyphonic limit] that use the warp algorithm at a given time), especially instances where the warped regions start at the same time. • If you have warped samples used in a drum program, consider using
the Flatten Pad
function to consolidate
the affected pad’s layers into one audio sample (see
to learn about this). After you flatten the pad, its
sample/samples no longer need to be warped.
To open the Timing Correct window
, press and hold
Shift
, and then tap
TC
at the bottom of the screen. See
to learn about this.
To switch to the previous or next track
, press and hold
Shift
, and then tap
Track –
or
Track +
(respectively) at the bottom of the screen.
To mute or solo the track
, press and hold
Shift
, and then tap
Mute
or
Solo
(respectively) at the bottom of the screen. 145
Track View
Track View gives you an overview of the tracks of each sequence. Use this mode to edit tracks and sequences simultaneously.
To enter the Track View
, do either of the following: • • Press Press
Shift
+
Menu Main
/
Track
. , and then tap
Track View
. Each horizontal strip represents a track in the current sequence. MIDI tracks and audio tracks are grouped together. MIDI tracks are listed first, audio tracks are listed second.
To move through the list of tracks
, swipe up or down.
To collapse or expand each group of tracks
, tap the
up arrow
( ) or
down arrow
( )
icon
above the first track’s
Mute
button. The top of the screen shows the sequence name and timing information. Use the
Sequence
field to select which sequence contains the tracks you want to show below. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the
to learn about this. 146
The Settings window lets you configure certain Track View settings.
To view the Settings
, tap the
gear icon
. Use the
Show Unused Tracks
selector to turn this feature on or off. When
on
, tracks with a sequence, program, etc. will still appear in the Track View. When
off
, only tracks with a sequence, program, etc. will appear.
To open the Timing Correct settings
, tap
TC
at the bottom of the screen. See
to learn about this.
To open the metronome settings
, tap
Click
at the bottom of the screen. See
To select the previous or next track of the same type
(MIDI or audio), tap
Track –
or
Track +
(respectively) at the bottom of the screen. Alternatively, tap the track in the main part of the screen. 147
MIDI Tracks
All MIDI tracks in the project are grouped together in the upper half of the Track View.
To show or hide them
, tap the or arrow icon. Use the
Program
field to select the program that the track will use. Use the
Length
field to set how long the track is. If you select the minimum value,
Seq
or
0
(if you use the numeric keypad), the track will be the exact same length as its sequence.
Tip
: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line. Use the
Velocity
field to set how loudly or quietly a track plays relative to its recorded levels. When set to
50%
, the track will be played with half the velocity it was originally played. When set to
200%
, the track will play twice as loud. The maximum velocity level is still
127
, though. Use the
Transpose
field to set the transposition (in semitones) of the entire track. Use the
level slider
to change the level of the track. The level meter above the slider shows the track’s current level. Use the
pan knob
to change the panning of the track. Use the
Solo
and
Mute
buttons to solo or mute the track (respectively). Alternatively, tap
Mute
or
Solo
(respectively) at the bottom of the screen to mute the currently selected track. 148
Audio Tracks
All audio tracks in the project are grouped together in the lower half of the Track View.
To show or hide them
, tap the or arrow icon. Use the
Input
field to set the track’s input/inputs. Use the
Arm
button to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track. You can select multiple tracks by pressing and holding
Shift
while tapping the
Arm
button to each track. Use the
Monitor
button to set how your audio track will be monitored. Tapping 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. Use the
level slider
to change the level of the track. The level meter above the slider shows the track’s current level. Use the
pan knob
to change the panning of the track. Use the
Solo
and
Mute
buttons to solo or mute the track (respectively). Alternatively, tap
Mute
or
Solo
(respectively) at the bottom of the screen to mute the currently selected track. Use the
Add new audio track
button to create a new audio track. 149
Step Sequencer
The Step Sequencer lets you create or edit sequences by using the pads as “step buttons,” simulating the experience of a traditional step-sequencer-style drum machine. This is available for MIDI tracks only, not audio tracks.
To enter the Step Sequencer
, do either of the following: • • Press Press
Menu
, and then tap
Step Seq
(MPC X).
Step Sequencer
. The top of the screen shows the track name and information as well as sequence and timing information. The
Track
field shows the name of the current track. Use the
Track Length
field to set how long the track is. If you select the minimum value,
Sequence
or
0
(if you use the numeric keypad), the track will be the exact same length as its sequence.
Tip
: This feature lets you maintain tracks of different lengths. For instance, you could play a 1-bar drum sequence repeatedly under a 4-bar bass line. Use the
Bars
field to adjust the length of the sequence in bars. 150
Use the
BPM
field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo
(
Seq
)
or a master tempo
(
Mst
), tap the
Seq
/
Mst
button next to the BPM field. Alternatively, press
Shift
+
Tap
/
Master
. The time counter at the top of the screen indicates the current playhead position. This is shown in
Use the
Time Division
selector to set the value that determines how many steps each bar of the sequence will have. The
T
indicates a triplet-based value. Alternatively, tap
TC
at the bottom of the screen to open the
Timing Correct
To enter or delete steps in a sequence
: 1.
Use the
Pad –
/
+
buttons at the bottom of the screen to select the pad whose steps you want to enter or delete. The current pad number is shown in the upper-left corner. Alternatively, use the Pad Select feature: Tap and hold
Pad Sel
, press the desired pad, and then release
Pad Sel
. You can also use Pad Select as a “latching” feature: tap
Pad Sel
so it is activated, press the desired pad, and then tap
Pad Sel
once more so it is deactivated. 2.
Use the
Bar –
/
+
buttons at the bottom of the screen 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.
Press the
pads
of your MPC hardware, or tap a button at the bottom of the sequencer. 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. For time divisions larger than 16, the bar’s steps will be represented by multiple pad banks. In this case, use the left and right arrows (
<
and
>
) by the step numbers (
1
–
16
,
17
–
32
, etc.) to change which steps are shown in the sequencer. Alternatively, use
Pad Bank Buttons A
and
B
. 151
To adjust the velocities of the steps
, do any of the following: • • • Tap anywhere on the Use the
slider
Turn the
velocity bar
on the right edge of the screen to increase or decrease the velocities of all steps.
Q-Link knob
of a step. The top of the velocity bar will jump to that point. that corresponds to that step (the Q-Link knobs must be in the Setting a value of
0
(
Off
) will delete the step.
Screen
edit mode). Use the
Nudge <
and
Nudge >
arrows to shift each step left or right (respectively) one step. This is useful for experimenting with different rhythmic permutations. Use the
slider
on the right edge of the screen to increase or decrease the velocities of all steps. Use the
Flip Steps
button to switch which steps have notes entered and which do not have notes. Steps that previously had no notes will now have notes at full velocity (
127
). Steps that previously had notes will now be empty. Tap
Presets
to show or hide the preset sequence controls. These controls let you manipulate and transform the velocities of the current bar in the sequence. The
first
button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • • • • • • The velocities will ascend to a single peak at the end of the bar. The velocities will ascend to two peaks—one after each half of the bar. The velocities will ascend to four peaks—one after each quarter of the bar. The velocities will descend from a single peak at the start of the bar. The velocities will descend from two peaks—one after each half of the bar. The velocities will descend from four peaks—one at the start each quarter of the bar. The
second
button will set the velocities of the steps to be at the maximum value (
127
) or minimum values (
1
), depending on their position in the bar. Each time you tap it, it will cycle through these options: • The velocities of the first half of the bar will be set to set to
127
.
1
. The velocities of the second half will be • The velocities of the first and third quarters of the bar will be set to second and fourth quarters will be set to
127
.
1
. The velocities of the • The velocities of the first, third, fifth, and seventh eighths of the bar will be set to velocities of the second, fourth, sixth, and eighth eighths will be set to
127
.
1
. The • The velocities of the first half of the bar will be set to be set to
1
.
127
. The velocities of the second half will • The velocities of the first and third quarters of the bar will be set to second and fourth quarters will be set to
1
.
127
. The velocities of the • The velocities of the first, third, fifth, and seventh eighths of the bar will be set to velocities of the second, fourth, sixth, and eighth eighths will be set to
1
.
127
. The 152
The
third
button will apply ascending or descending velocities to the steps. Each time you tap it, it will cycle through these options: • • • • Across the entire bar, the velocities will ascend to a peak and then descend from it. In each half of the bar, the velocities will ascend to a peak and then descend from it. In each quarter of the bar, the velocities will ascend to a peak and then descend from it. Across the entire bar, the velocities will descend from a peak into a valley and then ascend back up to the peak. • In each half of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak. • In each quarter of the bar, the velocities will descend from a peak into a valley and then ascend back up to the peak. The
fourth
button will swap the first half and second half of the bar. In other words, the first half of the bar will become a mirrored image of the second half, and vice versa. The
fifth
button will invert the velocities of all steps with entered notes. The sum of the old and new velocities will equal
127
. The exception is a velocity of
127
or
1
as a step with a note cannot have a velocity of
0
.
Examples
: Steps with velocities of
40
will now have velocities of
87
, and vice versa. Steps with velocities of
75
will now have velocities of
52
, and vice versa. Steps with velocities of
127
will now have velocities of
1
, and vice versa. 153
XYFX Mode
XYFX Mode turns the touchscreen into an XY pad where each axis represents the range of an effect parameter. As you move your finger on the XY pad, the current position will determine the current value of the two parameters. You can use this mode to create interesting effect automation on your tracks. The effect you control in XYFX Mode acts like an insert effect on that program. In fact,
XYFX
is the name of the insert effect you have to load to the program before you can use this mode. Learn more about this in
.
To enter XYFX Mode
, do either of the following: • • Press Press
Menu XYFX
, and then tap (MPC X).
XYFX
. When you first enter this mode in a project, you may be prompted to load XYFX to the program. Tap
Insert XYFX
to do this.
Note
: If you already have four insert effects loaded, you will need to clear one of the insert effect slots before doing this. Use the
XYFX Location
field to select the signal to which the effects will be applied: the current program (
Program
) or a master output (a stereo pair of channels:
Output 1
/
2
,
Output 3
/
4
, etc.). The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this. The automation button indicates the global automation state. This is shown in several modes. See
154
Touch or move your finger on the gridded part of the screen. A marker will follow your finger to indicate the current position. The X axis is the horizontal axis, increasing in value as you move right. The Y axis is the vertical axis, increasing in value as you move up. Each axis is labeled with its assigned parameter. When an effect has a beat division parameter, the current division will be highlighted as an entire column. Effects are differently colored for easy visual distinction: beat-synchronized effects are
blue
, while manually controlled effects are
green
. XY Mode with a beat-synchronized effect. While touching the
XY pad
, tap
Latch
in the lower-left corner to keep the marker on the XY pad even after you release it. The marker will remain there until you touch another part of the XY pad or until you tap
Latch
again. Use the
Setup
button to show or hide the Setup panel, which controls how the XY pad behaves. Use the
Preset
field to select the effect you want to use in XYFX Mode. 155
XY Mode with a manually controlled effect. Use the
Attack
knob to set the length of the attack phase of the envelope, which is triggered when you touch the XY pad. In other words, this determines how long it takes the effect to fully respond to your touch. Use the
Release
knob to set the length of the release phase of the envelope, which is triggered when you release the XY pad. In other words, this determines how long it takes the effect to fully deactivate after you stopping touching the XY pad. Use the
Wet
/
Dry
knob to set the blend the original signal (dry) and the effect signal (wet). The
X Axis
and
Y Axis
fields show which parameters are controlled by each axis. This varies depending on the effect you are using. 156
Sample Edit Mode
Sample Edit Mode lets you edit samples using various functions.
To enter Sample Edit Mode
, do either of the following: • • Press Press
Menu
, and then tap
Sample Edit Sample Edit
(MPC X). .
To select a sample to edit
, do any of the following: • • Use the
Sample
field at the top of the screen. In Main Mode, tap the right side.
Project
field at the top of the screen, and then double-tap a sample in the list on the • In the Browser, tap the
Project
button with the tap a sample in the list on the right side.
P
/
page icon
at the bottom of the screen, and then double-
To edit the name of the sample
, tap the
keyboard icon
next to the name at the top of the screen, and use the virtual keyboard that appears.
To delete the sample
, tap the
trash-can icon
next to the name at the top of the screen. In the screen that appears, you will see the programs that use this sample within your project. Tap
Delete Sample
to continue, or tap
Cancel
to return to the previous screen. 157
The upper half of the screen shows the waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in
Samples
,
Time
(in seconds and milliseconds), or
Beats
. You can
select the measurement units you want to show in the
To zoom in or out
, do any of the following: • When the
magnifying-glass icon
(respectively) on the waveform. (in the upper-right corner) is selected, spread or pinch your fingers • •
To scroll through the waveform
, do either of the following: • • Tap the Turn When the Turn
Zoom +
or
Q-Link Knob 4 Q-Link Knob 8 Zoom –
(
magnifying-glass icon
(
Zoom Scroll
buttons (respectively) at the bottom of the screen. on MPC X) or the (in the upper-right corner) is selected, swipe the waveform left or right. on MPC X) or the
fourth Q-Link knob third Q-Link knob
in the in the
fourth column fourth column
(MPC Live, MPC Touch). (MPC Live, MPC Touch). 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 any of the following: • • • Tap and drag its marker left or right. Use the Use the
Start first
or
End
fields shown below the waveform. column of
Q-Link knobs
(
Start X1__
) to adjust the start point or the
second
column of
Q-Link knobs
(
End X1__
) to adjust the end point. The top-most
Q-Link knobs
(
13
and
14
) provide coarse adjustment. The bottom-most
Q-Link knobs
(
1
and
2
) provide 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
,
, and
this chapter to learn how each works. Before using these modes, though, you may want to configure your settings—
158
Settings
The Settings window lets you configure certain Sample Edit Mode settings.
To view the Settings
, tap the
gear icon
. Use the
Cue Play Mode
selector to set how the cue playhead will play audio.
One Shot
: Tapping
Play Cue
will play the entire sample from the cue playhead.
Toggle
: Tapping
Play Cue
once will start playback from cue playhead. Tapping it once more will stop playback. Use the
Cue Preview
selector to set if any audio plays as you move the cue playhead. As you move the cue playhead through the sample waveform, you can set it to play the small part of the sample before the cue playhead (
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 your overall Preferences (see
Use the
Slice Preview
selector to set if any audio plays as you move a slice marker. As you move the slice marker through the 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 your
Use the
Auto-Scroll
selector to set how the screen behaves relative to the audio playhead.
Follow
: Depending on the zoom setting, the waveform will scroll along in the background, keeping the audio playhead centered.
Page
: The waveform display will move to the “next page” to follow the audio playhead.
Off
: The waveform display will not move at all. These functions also apply to the sample waveform in the Grid View. Use the
Timeline Units
selector to set the measurement units shown above the sample waveform. You can select one of the following options:
Time
: hours:minutes:seconds:frames
Samples
: number of samples
Beats
: bars:beats:ticks 159
Trim Mode
We recommend using Trim Mode to crop the start and/or ends from a sample.
To enter Trim Mode
, tap the
Trim
/
Chop
button in the lower-left corner so it says
Trim
. Use the
Start
and
End
fields to set the position of the start point and end point of the sample (respectively). Alternatively, tap and drag the start (
S
) or end (
E
) marker left or right, or use the
first
column of
Q-Link knobs
(
Start X1__
) to adjust the start point or the
second
column of
Q-Link knobs
(
End X1__
) to adjust the end point. Trim Mode includes a loop function. When on, the region of the sample between the loop point and end point will repeat. This is useful when trying to find an ideal spot to begin the sample. The loop cannot be earlier than the start point.
To adjust the loop point
, do any of the following: • • • Use the Tap and drag the start ( Use the
Loop first
field. column of
S
) marker (if
Loop Lock Q-Link knobs
( is on) or the
Start X1__
; if
loop Loop Lock
marker (if
Loop Lock
is on) or the
third
is off). column of
Q-Link knobs
(
Loop X1__
; if
Loop Lock
is off). The top-most
Q-Link knobs
(
13
and
15
) provide coarse adjustment. The bottom-most
Q-Link knobs
(
1
and
3
) provide fine adjustment.
To turn Loop Lock on or off
, tap the
Loop 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
, tap the
Loop
button to cycle between the four modes:
Off
: The sample will not loop.
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 tap
Loop
at the bottom of the screen. Use the
X-Fade button
to apply a crossfade to a looping sample. See
Addenda > Updates in MPC 2.3 > New Features > Crossfade Looping
for more information about this. 160
Use your MPC hardware pads to play certain parts of the selected sample: Play Loop Play to Loop Start Play from Loop Start Play Loop Continuous
15 16
Play All Play Sample (One Shot) Play Sample (Note On) No function
11 12
Play from Start (Note On) Play to Start (Note On)
07
Play to End (Note On)
08
Play from End (Note On) Play from Start (One Shot) Play to Start (One Shot) Play to End (One Shot) Play from End (One Shot)
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 tap and hold your finger on the waveform.
Play Loop Continuous
(
Pad 16
) plays the sample repeatedly using the mode set by the
Loop
button (
Forward
,
Reverse
, or
Alternating
; if the
Loop
button is
off
, the sample will loop forward repeatedly).
Play Loop
(
Pad 13
) plays the sample repeatedly using the mode set by the
Loop
button (
Forward
,
Reverse
, or
Alternating
; if the
Loop
button is off, the sample will loop forward repeatedly). 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. 161
Use the
Tune
field to transpose the sample up or down from its original pitch. Tap
From BPM
to open the
Edit Tuning
window, which lets you tune a sample to the current sequence. Use the
Beats
field to match the number of beats in the sequence.
To tune the sample to the sequence
, tap
Match
. The
Tune
field will adjust automatically and close the window. The sample is now tuned to the sequence.
To tune the sample to the sequence and adjust the sequence tempo
, tap
To Sequence
. This is the same as tapping Match but it also changes the sequence’s tempo to the BPM shown in the Tempo field on the right.
To close the window
, tap
Close
.
To enter a tempo manually
, use the
BPM
field.
To detect the tempo automatically
, tap
Detect
. In the
Edit BPM
window that appears, you can do any of the following: • • • Use the Tap Tap
BPM Detect
field to enter a tempo manually. to detect the tempo automatically.
Tap Tempo
at the bottom of the screen at the desired rate to use it as the tempo. You can play a sequence in the background to help with your timing. • Tap
Close
, the
X
, or anywhere outside the window to close it.
Note:
Before detecting tempo, it is recommended that you
Normalize
samples for best results. 162
Use the
Root Note
field to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup program.
To select a slice to edit
, do either of the following (after you have created slices in Chop Mode): • • Use the Turn
Slice Q-Link Knob 16
MPC Touch). field. (
Select Slice
on MPC X) or the
fourth Q-Link knob
in the
fourth column
(MPC Live, 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
, tap 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 tap
0 Snap
at the bottom of the screen.
To enable or disable the loop function
, press and hold
Shift
, and then tap
Loop
at the bottom of the screen. This switches the loop function between
Forward
and
off
. The loop function is described
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.
2.
3.
4.
Tap Set all fields as desired to create your sample slices. Select the desired slice. Tap
Trim Trim
/ /
Chop Chop
at the bottom of the screen so it says
Chop
at the bottom of the screen so it says
Trim
. . The region you are now editing is indicated by the normal start point and end point markers rather than slice markers. 5.
Tap
Trim
/
Chop
at any time to return to Chop Mode. 163
Assigning Samples
You can assign your new sample directly to a pad from Trim Mode.
To assign a sample
, tap
Assign
at the bottom of the screen to open the Assign Sample window.
Important
: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the
Assign To
field to
Assign slice to a pad
, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project. 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
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
, tap
Do It
.
To cancel the operation
, tap
Close
, the
X
, or anywhere outside the window. 164
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
, tap
Do It
.
To cancel the operation
, tap
Close
, the
X
, or anywhere outside the window. 165
Processing Slices & Samples
Tap the
Process
button to open the Process window, where you can select an editing option for the sample. Use the
Function
field to select an editing process. Double-tap it or tap
Function
at the bottom of the screen to open the Function window, which displays an overview of all available editing processes. You can use any of these functions as described below.
To return to Sample Edit Mode
, tap
Cancel
.
To return to the Process window
, tap the top of the screen.
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. 166
The
Delete
process deletes the region between the start point and end point and closes the gap between them. The
Silence
process replaces the region between the start point and end point with silence.
The
Extract
process deletes the regions before the start point and after the end point and saves it as a new sample in your current project. Use the
Edit Name
field (and the virtual keyboard that appears) to name the new sample.
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. 167
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. 168
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 (and the virtual keyboard that appears) to name the new sample.
Otherwise, the process will add a consecutive number after the sample name.
169
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 (and the virtual keyboard that appears) to name the new sample.
Otherwise, the process will add a consecutive number after the sample name.
The following options are available: • • •
Left Right Sum
will convert the left channel only. will convert the right channel only. 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.
170
Chop Mode
Whereas Trim Mode crops only the start and/or end off of a sample, Chop Mode divides the sample into multiple regions called
slices
. We recommend using Chop Mode when working with a long sample with different sounds throughout (e.g., a drum loop or a long melodic or harmonic passage).
To enter Chop Mode
, tap the
Trim
/
Chop
button in the lower-left corner so it says
Chop
. Use the
Start
and
End
fields to set the position of the start point and end point (respectively) of the currently selected slice. Alternatively, tap and drag the start (
S
) or end (
E
) marker left or right, or use the
first
column of
Q-Link knobs
(
Start X1__
) to adjust the start point or the
second
column of
Q-Link knobs
(
End X1__
) to adjust the end point. Use the selector in the lower-left corner of the screen 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
Q-Link Knob 11
(
Threshold
on MPC X) or the
second Q-Link knob
in the
third column
(MPC Live, MPC Touch). 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
Q-Link Knob 11
(
Num Regions
on MPC X) or the
second Q-Link knob
in the
third column
(MPC Live, MPC Touch). 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
Q-Link Knob 11
(
Bars
on MPC X) or the
second Q-Link knob
in the
third column
(MPC Live, MPC Touch). Use the
Beats
field to set how many beats are in each bar. Alternatively, turn
Q-Link Knob 7
(
Beats
on MPC X) or the
third Q-Link knob
in the
third column
(MPC Live, MPC Touch). Use the
Time Div
field to set a note division. Alternatively, turn
Q-Link Knob 3
(
Time Div
on MPC X) or the
fourth Q-Link knob
in the
third column
(MPC Live, MPC Touch). 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
.) 171
To play a slice
, do either of the following: • • Press the When the
pad
that corresponds to the slice. If your sample has more than 16 slices, use the additional pad banks.
headphones icon
(in the upper-right corner) is selected, tap a
slice
in the waveform. When the
One Shot
feature is enabled, you can press a pad once to play the entire slice. When this is disabled, pressing the pad and holding it will play the slice; releasing it will stop playback.
To enable or disable One Shot
, press and hold
Shift
, and then tap
One Shot
.
To select a slice to edit
, do any of the following: • • Use the Turn
Slice Q-Link Knob 16
MPC Touch). field. (
Select Slice
on MPC X) or the
first Q-Link knob
in the
fourth column
(MPC Live, • When the
headphones icon
(in the upper-right corner) is selected, tap a
slice
in the waveform.
To add a slice at the current playhead position
, tap
Slice+
at the bottom of the screen. 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
, tap the
glue-and-scissors icon
. In the
Split
/
Combine Region
screen that appears, tap 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. 172
When
Link Slices
is enabled, changing the start point of a slice will also change the end point of the previous slice. Similarly, changing the end point of a slice will also change the start point of the next slice. Disable
Link Slices
if you are trying to create slices that use non-contiguous parts of the sample.
To enable or disable this feature
, tap the
Link Slices
button.
Important
:
Link Slices
must be disabled to make slices nonsequential, noncontiguous, or overlapping.
To remove all slices from a sample
, press and hold
Shift
and tap
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, tap and drag the translucent marker with the triangle ( ).
To play the sample from the cue playhead
, tap
Play Cue
at the bottom of the screen.
To create a slice marker at the cue playhead position
, tap
Slice+
at the bottom of the screen.
To set how the cue playhead behaves
, use the
Settings
window (described
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 tap
0 Snap
at the bottom of the screen. 173
Converting or Assigning Slices
You can assign your new sample directly to a pad from Chop Mode. You can also convert it into a new program or patched phrase.
To convert or assign a sample
, press and hold
Shift
, and then tap
Convert
at the bottom of the screen to open the Convert or Assign Slices window. If you set the
Convert To
field to
New
[
program type
]
program using slices
, this will create a new program and assign the sample’s slices to its pads. 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
to learn more about the parameters mentioned below): •
Non-Destructive Slice
: Each pad’s will be set to the slice number.
Slice
setting •
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
, tap
Do It
.
To cancel the operation
, tap
Close
. 174
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
, tap
Do It
.
To cancel the operation
, tap
Close
. 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
, tap
Do It
.
To cancel the operation
, tap
Close
. 175
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
to learn more about the parameters mentioned below): •
Non-Destructive Slice
: The pad’s will be set to the slice number.
Slice
setting •
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
, tap
Do It
.
To cancel the operation
, tap
Close
. 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
, tap
Do It
.
To cancel the operation
, tap
Close
. 176
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.
Processing Slices
Press and hold
Shift
, and then tap the
Process
button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the
Function
field to select an editing process. Double-tap it or tap
Function
at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.
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. See the
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). You can use any of these functions as described below.
To return to Sample Edit Mode
, tap
Cancel
.
To return to the Process window
, tap the top of the screen.
Note
: All processes here will affect only the currently selected slice.
177
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. 178
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! 179
Program Mode
Program Mode lets you edit a sample in the context of the program in which you’ll use it. You can adjust the pad parameters as though you were in Program Edit Mode, auditioning and hearing how it will sound in the program’s audio path.
To enter Program Mode
, tap the
Program
button at the bottom of the screen. The pads will show their assigned samples in the current Program. Use the
Start
and
End
fields to set the position of the start point and end point of the sample (respectively). Alternatively, tap and drag the start (
S
) or end (
E
) marker left or right, or use the
first
column of
Q-Link knobs
(
Start X1__
) to adjust the start point or the
second
column of
Q-Link knobs
(
End X1__
) to adjust the end point. 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 any of the following: • • • Use the Tap and drag the start ( Use the
Loop first
field. column of
S
) marker (if
Loop Lock Q-Link knobs
( is on) or the
Start X1__
; if
loop Loop Lock
marker (if
Loop Lock
is on) or the
third
is off). column of
Q-Link knobs
(
Loop X1__
; if
Loop Lock
is off). The top-most
Q-Link knobs
(
13
and
15
) provide coarse adjustment. The bottom-most
Q-Link knobs
(
1
and
3
) provide fine adjustment.
To turn Loop Lock on or off
, tap the
Loop 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
, tap the
Loop
button to cycle between the four modes:
Off
: The sample will not loop.
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 tap
Loop
at the bottom of the screen. 180
Tap each
pad
to hear its sample/samples. The sample on its first layer will automatically appear in the waveform display for editing. Use the
Tune
field to transpose the sample up or down from its original pitch. Tap
From BPM
to open the
Edit Tuning
window, which lets you tune a sample to the current sequence. Use the
Number of Beats
field to match the number of beats in the sequence.
To tune the sample to the sequence
, tap
Match
. The
Tune
field will adjust automatically and close the window. The sample is now tuned to the sequence.
To tune the sample to the sequence and adjust the sequence tempo
, tap
To Seq
. This is the same as tapping Match but it also changes the sequence’s tempo to the BPM shown in the
Tempo
field on the right.
To close the window
, tap
Close
. Use the
Root Note
field to set the root note of the sample. This defines which note will play the sample at its original pitch when in a keygroup program. Use the
Slice
field to display either the sample as it has been edited (
Pad
) or the entire sample (
All
). 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 tap
To Pad
at the bottom of the screen. The
Slice
field will change to
Pad
, but the start point and end point will remain in their current locations. 181
The
Link Slices
button does not have a function in Program Mode.
0 Snap
forces start points, end points, and loop points to occur only at the waveform’s “zero-crossings.” This can help to avoid clicks and glitches when playing a sample.
To enable or disable 0 Snap
, press and hold
Shift
, and then tap
0 Snap
at the bottom of the screen.
To enable or disable the loop function
, press and hold
Shift
, and then tap
Loop
at the bottom of the screen. This switches the loop function between
Forward
and
off
. The loop function is described
182
Assigning Samples
You can assign your new sample directly to a pad from Program Mode.
To assign a sample
, tap
Assign
at the bottom of the screen to open the Assign Sample window.
Important
: Assigning a sample to a pad in this way will replace the sample on the first layer of the pad. If you set the
Assign To
field to
Assign slice to a pad
, the pad will simply refer to the slice in this sample instead of creating a new sample. This is useful for reducing clutter in your project. 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
to learn more about the parameters mentioned below): •
Non-Destructive Slice
: The pad’s will be set to the slice number.
Slice
setting •
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
, tap
Do It
.
To cancel the operation
, tap
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
, tap
Do It
.
To cancel the operation
, tap
Close
. 183
Processing Slices
Press and hold
Shift
, and then tap the
Process
button to open the Process window, where you can select an editing option for the currently selected slice. (This has fewer options than Trim Mode. Unavailable ones are darkened.) Use the
Function
field to select an editing process. Double-tap it or tap
Function
at the bottom of the screen to open the Function window, which displays an overview of all available editing processes.
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
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). You can use any of these functions as described below.
To return to Sample Edit Mode
, tap
Cancel
.
To return to the Process window
, tap the top of the screen.
Note
: All processes here will affect only the currently selected slice.
184
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. 185
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! 186
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
section to learn more. For
keygroup programs
, this mode contains slightly more parameters than drum programs. See the
For
clip programs
, this mode looks very different from that of other programs due to how clip launching works. See
section to learn more. For
plugin programs
to learn more. For MPC X and MPC Live, these are available only
while in Controller Mode. For
MIDI programs
and
CV programs
, skip to
and
to learn more. For more general information on the differences between the types of programs, please see
To enter Program Edit Mode
, do either of the following: • • Press Press
Menu
, and then tap
Prog Edit
(MPC X).
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
, tap the
Master
,
Samples
,
Pan Velocity
,
Filter
/
Env
,
LFO Modulation
, or
Effects
button at the bottom of the screen. You can tap the
Samples
button multiple times to cycle through its three available tabs. 187
Tap the
location icon
at the top of the screen (between the
Program
and
Pad
fields) to open the
Edit Zones
window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the
Mode
selector to set how the selected pads will be edited:
Current
: Only the currently selected pad can be edited.
Multiple
: All selected pads can be edited simultaneously.
All
: All pads can be edited simultaneously.
To close the window
, tap
Close
, the
X
, or anywhere outside the window.
Tip
: You can immediately select multiple pads while on any tab in Program Edit Mode (regardless of the current Edit Zones setting) by pressing and holding the
Shift
button and pressing each desired pad. The Edit Zones setting will automatically change to
Multiple
. 188
Tap the
down-arrow icon
at the top of the screen (next to the
Program
field) to open the
Flatten Pad
window, which renders all samples on a pad as an audio sample and places it on the first layer of that pad. The resulting sample is the audio signal produced by that pad at full velocity (
127
) after the pad channel strip, which means that it includes any assigned pad insert effects and the results of warping the sample. This function is useful if you need to reduce how CPU-intensive a pad or program is by essentially “embedding” the warping and effects in the sample itself. By default, it will use the name of the first sample. This function works for drum programs only. (This is the same as the
Flatten Pad
process shown in the program editing functions in Main Mode.)
To select the pad
, press it or use the
Pad
menu.
To set the length of the audio tail
, use the
Audio Tail
field. This will 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, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds.
To name the new sample
, tap the
Edit Name
field, and use the virtual keyboard that appears.
To confirm your choice
, tap
Do It
.
To cancel
, tap
Cancel
. The automation button indicates the global automation state. This is shown in several modes. See
189
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 up to 99 cents 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. 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 kick 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. 190
Samples
Each pad can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap
Samples
to cycle through its three available tabs. On all three sections, you can access the
Settings
window, which lets you configure certain settings in the Samples tab.
To view the Settings
, tap the
gear icon
.
To close the Settings
, tap
Close
, the
X
in the upper-right corner, or anywhere outside the window. Use the
Link Slices
selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode). When on, 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. This is the same as the
Link Slices
button in Sample Edit Mode. Use the
Loop Lock
selector to “link” or “unlink” the loop point from the start point. 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. This is the same as the
Loop Lock
button in Sample Edit Mode. Use the
Zero Snap
selector to enable or disable the Zero Snap feature, which 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. This is the same as the
0 Snap
button in Sample Edit Mode. 191
The
first Samples
tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls. The waveform display shows the “active” section of the sample waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. Use the bottom-most
Q-Link knob
in the fourth bank to zoom in or out of the sample waveform. Tap each layer number (
Layer 1
–
4
) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half. Use the
Sample
field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s
sample pool beforehand. For information on how to load samples into a project, please see the
chapter.
Important
: The parameters in the
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
start
and
end points
will correspond to the slice markers in the original sample. 192
The
green
/
S
marker and
red
/
E
marker are the start point and end point (respectively). These two points define the region of the sample that will be played.
To move the start point or end point
, do any of the following: • • • Tap and drag the Use the Use the
Start first
or
S
or
End
fields shown below the waveform. bank of
E
marker left or right.
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.
Note
: When
Loop Lock
is on, the loop position (as determined by the
Loop
field, if enabled) is the same as the sample’s start point. When off, the loop position is independent from the start point. Use the
Loop
field to determine the position where the sample’s playback will repeat when
Pad Loop
is activated. Alternatively, use the
third
bank of
Q-Link knobs
to adjust the loop point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
Note
: When
Loop Lock
is on, the loop position is the same as the sample’s start point. When off, the loop position is independent from the start point. 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
. This also lets
Sample Play
field in the
LFO Modulation
tab is set to
Note On
).
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.
Semi
lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if
Warp
is off). This is the same as the
Semi
knob on the second Samples tab.
Fine
provides fine-tuning of each layer by cents. This will affect the length of the sample (if
Warp
is off). This is the same as the
Fine
knob on the second Samples tab. 193
Use the
Reverse
button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. Use the
Pad Loop
button to cycle through the available Pad Loop modes.
Important
: For Pad Loop to work, you must (
1
) set the
Sample Play
field (in the
LFO Modulation
tab) to
Note On
instead of One Shot and (
2
) set the
Slice
field (in the first
Samples
tab) to
Pad
instead of All or a slice number.
Off
: The sample will not loop.
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.
194
Tap
Warp
to enable or disable warping of the sample. When enabled, lengthening or shortening the sample (based on the BPM) will not change its pitch. When disabled, lengthening or shortening the sample will also change its pitch and vice versa. Use the
Stretch
field to set the “stretch factor,” which affects how the sample is warped (if
Warp
is on). Use the
BPM
field to enter a tempo, which affects how the sample is warped (if
Warp
is on). Tap
BPM Sync
to enable or disable BPM Sync. When BPM Sync and
Warp
are both enabled, the sample’s BPM will be “locked” to the tempo of the sequence. When BPM Sync is disabled but
Warp
is enabled, the sample will be independent of the tempo of your sequence—use the
Stretch
field to lengthen or shorten a sample.
Note
: The Warp algorithms are very CPU-intensive and can result in audio drop-outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following: • • • • Avoid using extreme
Stretch
values. Minimize the amount of pitch adjustment (e.g., the Avoid warping very small track regions.
Semi
and
Fine
parameters) of warped audio. Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time. • • Avoid rapidly triggering samples that are warped. If you have warped samples used in a drum program, consider using the
Flatten Pad
function to consolidate the affected pad’s layers into one audio sample (see
to learn about this). After you flatten the pad, its
sample/samples no longer need to be warped. 195
The
second Samples
tab contains controls for its pitch and volume level.
Semi
lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if
Warp
is off). This is the same as the
Semi
field on the first Samples tab.
Fine
provides fine-tuning of each layer by cents. This will affect the length of the sample (if
Warp
is off). This is the same as the
Fine
field on the first Samples tab.
Level
lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad. 196
The
third Samples
tab contains the control for its offset. Use the
Offset
slider to determine a time offset for the sample’s playback.
Positive values
(right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Negative values
(left of center): When the pad is played, playback will be delayed by the amount specified by the offset value. 197
Pan Velocity
Use the
pan knob
to adjust the stereo placement of the respective layer. Use the
Vel Start
and
Vel End
knobs to define the velocity range of each layer. A range from
0
to
127
lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from
100
to
127
lets the layer respond only to higher velocity levels. 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 mid range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample. 198
Filter
/
Envelope
Use the
Type
field to select a filter for the selected pad. See
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 start point.
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. 199
The
Filter Envelope
controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the
Env
section to learn about the envelope parameters.
The
Amp Envelope
controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the
Env
knob. See the later
section to learn about the envelope parameters.
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. 200
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. 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 panning of the sound (
Pan
). 201
Effects Inserts
To add an effect
: 1.
2.
Double-tap the desired
Inserts
slot. A list of effects will appear. Swipe up or down to move through the list. You can tap the
Type
and
Manufacturer
buttons to sort your effects by those categories. 3.
To load an effect, double-tap it
, or tap
Select
.
To close the list
, tap
Close
.
To remove an effect from its slot
, tap the
trash can icon
.
To enable or disable the effect
, tap the
On
/
Off
button for the slot.
To enable or disable all four insert effects
, tap the
All On
/
Off
button in the upper-right corner. 202
To adjust the effect’s parameters
, tap the
pencil icon
. Use the
sliders
to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.
Sends
The audio of the pad will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels. Use the
Send
knobs to set the volume level of the signal the pad will route to each send effect.
Important
:
To set the send level
, use, you have to load an effect into the corresponding send effect slot in the
to learn more how to do this. To learn about send effects, please see
. 203
Keygroup Programs
When using keygroup programs, Program Edit Mode lets you edit the parameters for each keygroup.
To select a keygroup
, press a
pad
within that keygroup. Its parameters will appear on the screen immediately. Alternatively, use the
Keygroup
field at the top of the screen.
To view a specific tab of parameters
, tap the
Master
,
Samples
,
Pan Velocity
,
Filter
/
Env
,
LFO Modulation
, or
Effects
button at the bottom of the screen. You can tap the
Samples
button multiple times to cycle through its three available tabs.
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). Tap the
Keygroup
field to select a keygroup to edit. You can also select
All
to edit all keygroups simultaneously. Tap 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.
The automation button indicates the global automation state. This is shown in several modes. See
204
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 up to 99 cents up or down.
Transpose
shifts the pitch of the MIDI notes sent to the program up to 36 semitones up or down.
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 screen, 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.
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. 205
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, tap 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 up to 99 cents 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. 206
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 Random
( (
Vel
): The pad will switch between layers depending on how hard you press a pad.
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 Note On
: The entire sample will play from start to end. Use this when you want to play short sounds. : 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. 207
Samples
Each keygroup can trigger up to four samples, which are assigned in four individual layers. Each layer has identical, independently assignable parameters. Tap
Samples
to cycle through its three available tabs. On all three sections, you can access the
Settings
window, which lets you configure certain settings in the Samples tab.
To view the Settings
, tap the
gear icon
.
To close the Settings
, tap
Close
, the
X
in the upper-right corner, or anywhere outside the window. Use the
Link Slices
selector to set how the start point and end point of a slice in a larger sample is set. You can create these slices in Sample Edit Mode (Chop Mode). When on, 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. This is the same as the
Link Slices
button in Sample Edit Mode. Use the
Loop Lock
selector to “link” or “unlink” the loop point from the start point. 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. This is the same as the
Loop Lock
button in Sample Edit Mode. Use the
Zero Snap
selector to enable or disable the Zero Snap feature, which 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. This is the same as the
0 Snap
button in Sample Edit Mode. 208
The
first Samples
tab contains the sample waveform for each layer and controls for its pitch, timing, and playback. The upper half of the screen shows the waveform of the sample on the currently selected layer. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. Use the bottom-most
Q-Link knob
in the fourth bank to zoom in or out of the sample waveform. Tap each layer number (
Layer 1
–
4
) under the waveform to select it. When selected, its sample waveform will be shown in the upper half of the screen and its settings will be shown in the lower half. Use the
Sample
field to select the sample file for that layer. Remember that the sample has to be loaded into the project’s
sample pool beforehand. For information on how to load samples into a project, please see the
chapter.
Important
: The parameters in the
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 (keygroups), you can convert a slice using
Non-Destructive Slice
or
Pad Parameters
. A
Non-Destructive Slice
will let its keygroup to refer to that slice when you press a pad in that keygroup; the original sample remains intact and each slice marker is like a “bookmark” for a keygroup. In Program Edit Mode, you’ll see that the layer to which it’s assigned has its
Slice
drop-down menu set to the corresponding
slice number
in the original sample. Playing that keygroup 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 layers they’re assigned to have their
Slice
drop-down menus set to
Pad
(instead of the slice number), and the
start
and
end points
will correspond to the slice markers in the original sample. 209
The
green
/
S
marker and
red
/
E
marker are the start point and end point (respectively). These two points define the region of the sample that will be played.
To move the start point or end point
, do any of the following: • • • Tap and drag the Use the Use the
Start first
or
S
or
End E
fields shown below the waveform. column of marker left or right.
Q-Link knobs
adjust the end point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment. to adjust the start point or the
second
column of
Q-Link knobs
to
Note
: When
Loop Lock
is on, the loop position (as determined by the
Loop
field, if enabled) is the same as the sample’s start point. When off, the loop position is independent from the start point. Use the
Loop
field to determine the position where the sample’s playback will repeat when
Pad Loop
is activated. Alternatively, use the
third
column of
Q-Link knobs
to adjust the loop point. The top-most Q-Link knob provides coarse adjustment. The bottom-most Q-Link knob provides fine adjustment.
Note
: When
Loop Lock
is on, the loop position is the same as the sample’s start point. When off, the loop position is independent from the start point. 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
. This also lets
Sample Play
field in the
Master
tab is set to
Note On
).
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.
Semi
lets you transpose the selected layer 36 up to semitones up or down. This is the same as the
Semi
knob on the second
Samples
tab.
Fine
provides fine-tuning of each layer by cents. This is the same as the
Fine
knob on the second
Samples
tab. 210
Use the
Reverse
button to select in which direction the sample will play. When on, the sample will play in reverse. When off, the sample will play in the normal forward direction. Use the
Pad Loop
button to cycle through the available Pad Loop modes.
Important
: For Pad Loop to work, you must (
1
) set the
Sample Play
field (in the
Master
tab) to
Note On
instead of One Shot and (
2
) set the
Slice
field (in the first
Samples
tab) to
Pad
instead of All or a slice number.
Off
: The sample will not loop.
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.
211
The
second Samples
tab contains controls for its pitch and volume level.
Semi
lets you transpose the selected layer 36 up to semitones up or down. This will affect the length of the sample (if
Warp
is off). This is the same as the
Semi
field on the first Samples tab.
Fine
provides fine-tuning of each layer by cents. This will affect the length of the sample (if
Warp
is off). This is the same as the
Fine
field on the first Samples tab.
Level
lets you adjust each layer’s volume, letting you control the “balance” of the samples assigned to the pad. 212
The
third Samples
tab contains the control for its offset. Use the
Offset
slider to determine a time offset for the sample’s playback.
Positive values
(right of center): When the pad is played, playback will start immediately but at a later point in the sample specified by the offset value.
Negative values
(left of center): When the pad is played, playback will be delayed by the amount specified by the offset value. 213
Pan Velocity
Use the
Pan knob
to adjust the stereo placement of the respective layer. Use the
Vel Start
and
Vel End
knobs to define the velocity range of each layer. A range from
0
to
127
lets the layer respond to the entire velocity range which is input from the respective pad while, for example, a range from
100
to
127
lets the layer respond only to higher velocity levels. 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 mid range velocities trigger the medium-force sample, and only high velocities trigger the high-force sample. Use the
Root Note
menu to set the starting note of each loaded sample.
Smp
denotes the sample’s default pitch. 214
Filter
/
Envelope
Use the
Type
field to select a filter for the selected pad. See
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 the note value will be added to the filter cutoff. This allows higher notes to sound brighter.
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. 215
The
Filter Envelope
controls affect the filter frequency. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the
Env
knob. See
to learn about the envelope parameters. The
Amp Envelope
controls affect level changes over time. Use the fields or tap and drag the “handles” of the envelope to shape the envelope or time-variant modulation output. Adjust the envelope’s influence on the filter frequency with the
Env
knob. See
to learn about the envelope parameters.
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) 216
Use the
Rate
field to determine the LFO frequency. At lower values, it might take some time for the LFO to complete a cycle, while higher values will come closer to audible range. Use the
Sync
field to set if the LFO’s rate is synchronized with the tempo. You can select one of several time divisions (a
.
indicates a dotted note; a
T
indicates a triplet-based time division). When
None
is selected,
Sync
is off. 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. 217
Effects Inserts
.
Important
: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
To add an effect
: 1.
2.
Double-tap the desired
Inserts
slot. A list of effects will appear. Swipe up or down to move through the list. You can tap the
Type
and
Manufacturer
buttons to sort your effects by those categories. 3.
To load an effect
, double-tap it, or tap
Select
.
To close the list
, tap
Close
.
To remove an effect from its slot
, tap the
trash can icon
.
To enable or disable the effect
, tap the
On
/
Off
button for the slot.
To enable or disable all four insert effects
, tap the
All On
/
Off
button in the upper-right corner. 218
To adjust the effect’s parameters
, tap the
pencil icon
. Use the
user interface
or
sliders
to set the value of each parameter. These values affect only this instance of the effect; insert effects are not global.
Sends
The audio of the program will be routed to send effects (if you have any loaded) at their designated send levels. The return channels will then send the audio to an assigned master output at the designated return levels. Use the
Send
knobs to set the volume level of the signal the program will route to each send effect. You can select up to four send effects for each keygroup, but remember that they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well.
Important
:
To use a send effect
, you have to load an effect into the corresponding send effect slot in the Channel
to learn more how to do this. To learn about send effects, please see
. 219
Clip Programs
When using clip programs, Program Edit Mode lets you assign a sample (a loop called a
clip
) to each pad in a single bank. You can also edit various settings to determine how each pad launches its assigned clip.
To select a pad
, press it. Its parameters will appear on the screen immediately.
To view a specific tab of parameters
, tap
Program
or
Pad
the bottom of the screen. The
Program
tab is where you assign clips to pads (see
Pad
tab is where you determine how each pad plays
Tap the
location icon
at the top of the screen (between the
Program
and
Pad
fields) to open the
Edit Zones
window, which is a feature for drum programs and clip programs. This window displays an overview of any selected pads. Use the
Mode
selector to set how the selected pads will be edited:
Current
: Only the currently selected pad can be edited.
Multiple
: All selected pads can be edited simultaneously.
All
: All pads can be edited simultaneously.
To close the window
, tap
Close
, the
X
, or anywhere outside the window. 220
The automation button indicates the global automation state. This is shown in several modes. See
The Settings window lets you configure certain Audio Edit Mode settings.
To view the Settings
, tap the
gear icon
. Use the
Auto-Scroll
selector to set how the screen behaves relative to the audio playhead while viewing the
Pad
tab.
Follow
: Depending on the zoom setting, the waveform display will scroll along in the background while keeping the audio playhead centered.
Page
: The waveform display will move to the “next page” to follow the audio playhead.
Off
: The waveform display will not move at all. These functions also apply to the Grid View, Audio Edit Mode, List Edit Mode, and Sample Edit Mode. 221
Program
This tab is where you can assign clips to each pad and adjust the program’s overall tuning and quantization.
To assign a sample to a pad
, press or tap a pad to select it (it will play its assigned samples, if any). Tap the
Sample
field, and then use the
data dial
or
–
/
+
buttons to select a clip. Alternatively, double-tap the
Sample
field, and then tap a clip to select it.
To clear the assigned clip from a selected pad
, assign a sample to a pad, but select
None
.
Coarse
lets you transpose the program up to 36 semitones up or down.
Fine
provides fine-tuning of the program up to 99 cents up or down. Use the
Launch Quantize
field to set the quantization of the program in bars (or subdivisions of a bar). 222
Pad
The upper half of the screen shows the clip waveform. The lower half shows the editing controls. The waveform display shows the “active” section of the clip waveform. Swipe left or right on the waveform to move through it. Above the waveform is the timeline, shown in bars, beats, and ticks. The green marker and red marker are the start point and end point (respectively). These two points define the region of the sample that will be played.
To move the start point or end point of the selected region
, do any of the following: • • • Tap and drag the Use the Use the
Start first
or
S
or
End
row of
E
marker left or right. fields shown below the waveform.
Q-Link knobs
(
Layer 1 Start
) to adjust the start point or the
second
row of
Q-Link knobs
(
Layer 1 End
) to adjust the end point. The right-most
Q-Link knobs
(
12
and
16
) provide coarse adjustment. The left-most
Q-Link knobs
(
9
and
13
) provide fine adjustment. Use the
Zoom +
or
Zoom –
buttons at the bottom of the screen to zoom in or out (respectively) of the waveform. 223
Below is a brief step-by-step process so you can get familiar with setting up a clip. Continue reading the rest of this chapter to learn how to use the parameters in this window.
To assign and edit a clip
: 1.
Assign a sample to a pad using the
Program
tab (described
). For example, start with a four-bar drum loop. 2.
In the
Pad
tab, note that the
BPM
which is automatically detected. field has a value, If the
Warp
button is not already on, tap it. The Warp function keeps the loop in time with the sequence tempo or the master tempo. 3.
If you need to edit the loop’s tempo manually, do any of the following: • Tap the
BPM
field, and then use the or
–
/
+
buttons to change the value.
data dial
• Double-tap the
BPM
field, and then use the numeric keyboard that appears to enter a value. 4.
Let’s shorten the loop to a two-bar loop by doing any of the following: • Tap and drag the start point ( marker.
S
) or end point (
E
) • Tap the
beat
,
bar
, or
tick
value of the
Start
or
End
fields, and then use the
data dial
or
–
/
+
buttons to change the value. • Double-tap the
beat
,
bar
, or
tick
value of the
Start
or
End
fields, and then use the numeric keyboard that appears to enter a value. Set the locations properly to ensure the loop’s timing is correct—neither too short nor too long. When the loop repeats, it should feel seamless. 5.
If the
Fade
button is not already on, tap it. This applies a very small fade-in and fade-out at the start and end of the clip to prevent “clicks” and glitches if start point or end point is not at a “zero-crossing.” 6.
If you need to edit the loop’s pitch manually, do any of the following: • Tap the
Coarse
or
Fine
slider, and then use the
data dial
or
–
/
+
buttons to change the value. • Use
Q-Link Knobs 1
and
2
(
Layer __ Semi Tune
and
Layer __ Fine Tune
) to change the value of the
Coarse
or
Fine
sliders. • Double-tap the
Coarse
or
Fine
slider, and then use the numeric keyboard that appears to enter a value. The
Coarse
slider adjusts the pitch in semitones. The
Fine
value adjusts the pitch in cents. You will hear the pitch adjust in real time. 224
Tap
Warp
to lengthen or shorten the clip without changing its pitch, and use the
BPM
field to change the tempo. Use the
Coarse
and
Fine
sliders if you want to change the pitch. Use the
Pad Play
field to determine how the clip is played.
One Shot
: When you press the pad, the entire clip will play from start to end and then stop.
Toggle
: When you press the pad, the entire clip will play from start to end and loop indefinitely. 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. Tap
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 up to 99 cents 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.” 225
Plugin Programs
For plugin programs, you will see a graphical representation of the plugin interface, or an overview of all available plugin parameters with a slider for each.
Important
: For MPC X and MPC Live, plugin programs are available only in Controller Mode with the desktop version of the MPC software.
The automation button indicates the global automation state. This is shown in several modes. See
to learn about this. Use the
user interface
or
sliders
to set the value of each parameter. Use the six
tabs
at the bottom of the screen to access the available parameters.
To assign a parameter to one of the sliders
, use the MPC software.
Note
: To see user guide in the MPC software and learn how to do this, click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. 226
MIDI Programs
For MIDI programs, you will see an overview of all available MIDI CCs with a slider for each. Use the
sliders
to set the value of each parameter. Use the six
tabs
at the bottom of the screen to access the available parameters.
To assign a parameter to one of the sliders
, use the MPC software.
Note
: To see user guide in the MPC software and learn how to do this, click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. 227
CV Programs
For CV programs, you will see an overview of all available CV outputs with a slider for each. The automation button indicates the global automation state. This is shown in several modes. See
to learn about this. Use the
sliders
to set the value of each parameter. Use the six
tabs
at the bottom of the screen to access the available parameters.
To assign a parameter to one of the sliders
, use the MPC software.
Note
: To see user guide in the MPC software and learn how to do this, click the
Help
menu, select
MPC Help
, and select
MPC User Manual
. 228
Anatomy of an Envelope
An envelope creates a variable control signal. It can be used, for instance, to modulate the filter settings of a sound over a given period of time. For drum programs, use the
AD
/
AHDS
selector to select an AD or AHDS envelope. When
Sample Play
is set to
Note-On
, it will use an ADSR envelope. Keygroup programs always use
AHDS
envelopes. When
Sample Play
is set to
Note-On
, it will use an
ADSR
envelope. With
AHDS
envelopes, the following happens when you trigger a sample: 1.
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. With
ADSR
envelopes, the following happens when you trigger a sample: 1.
Within the period of time defined by sample volume rises to its maximum value.
Attack
, the 2.
During the
Decay
phase, the sample’s volume will gradually drop to the
Sustain
level. 3.
The sample’s volume will stay at the
Sustain
level until the
Release
phrase begins. 4.
The sample’s volume will drop to “zero” over the duration set by
Release
. 229
List Edit Mode
List Edit Mode has some of the features of the Grid View—as well as some additional ones—but with a different interface/workflow. The time counter at the top of the screen indicates the current playhead position. This is shown in most of the
to learn about this. The clock icon at the top of the screen opens the
Timing Correct
window. See
to learn about this. The
View
menu lets you select what type of events are shown in the list.
All
: Select this option to show all event types.
Notes
: Select this option to show only notes.
Aftertouch
: Select this option to show only aftertouch messages.
Track Automation
: Select this option to show only track automation events.
Program Automation
: Select this option to show only program automation events.
Pitch Bend
: Select this option to show only pitch bend events.
Control Change
: Select this option to show only MIDI CC messages.
Program Change
: Select this option to show only MIDI program change messages.
Ch Pressure
: Select this option to show only channel pressure messages.
Solo
/
Mute
: Select this option to show only solo and mute events for tracks, programs, and pads.
Other
: Select this option to show other types of events not listed above, such as pad or keygroup parameters.
The automation button indicates the global automation state. This is shown in several modes. See
to learn about this. 230
The
Settings
window lets you configure certain List Edit Mode settings.
To view the Settings
, tap the
gear icon
. Use the
Hitting Pad Selects All Events
selector to turn the feature on or off. When
On
, pressing a pad will automatically select all note events for that pad in the sequence on that track. When set to
Off
, pressing a pad will simply play its sound without selecting any note events. Use the
Auto-Advance on Step Record
selector to turn the feature on or off. When set to
On
, pressing a pad when the track is record-armed will move the audio playhead forward by a length determined by the current
Time Division
setting in the
TC
/
Timing Correct
window. When set to
Off
, pressing a pad when the track is record-armed will not change the audio playhead position. Use the
Auto-Scroll
selector to set how the screen behaves relative to the audio playhead.
Follow
: The list will scroll along in the background while keeping the audio playhead centered.
Page
: The list will move to the “next page” to follow the audio playhead.
Off
: The list will not move at all. These functions also apply to the Grid View, Audio Edit Mode, and Sample Edit Mode. The sequence for the track will be shown as a list of events, with the following parameters:
#
: This is the number of the note event.
Time
: This is the position of the note event in bars, beats, and ticks. If multiple note events occur at the same time, additional note events will be listed immediately below, but their
Time
values will be grayed out.
Event Type
: This icon indicates the type of event (e.g.,
Note
,
Aftertouch
,
Track Automation
, etc.). See the list of icons below showing the different types of events.
Pad
/
Note
: This is 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
: This is the length of the note event in ticks.
Velocity
: This is the velocity of the note event with its corresponding color.
Mod Type
: This is the type of modifier used on the note event via automation.
Value
: This is the value of the modifier automation. 231
The
red arrow
( ) on the left side of the list represents the audio playhead’s current position. If your sequence is playing, the arrow will move accordingly. The following icons indicate the corresponding types of events:
Note Track Mixer
Automation (
Volume
,
Pan
,
Mute
,
Solo
)
Track MIDI CC
Automation (
0
–
127
)
Track Parameter
Automation (
Aftertouch
,
Pitchbend
,
Channel Pressure
, or
Program Change
)
Program Mixer
Automation (
Volume
,
Pan
,
Mute
,
Solo
, or
Send 1
–
4
)
Program Parameter
Automation (options vary based on the type of program)
Program Insert Effect
Automation (options vary based on the effect)
Pad
/
Keygroup Mixer
Automation (
Level
,
Pan
,
Pad Mute
,
Pad Solo
, or
Send 1
–
4
)
Pad
/
Keygroup Parameter
Automation (options vary based on the type of program)
Pad
/
Keygroup Insert Effect
Automation (options vary based on the effect) 232
To select an event
, tap it.
To select multiple events
, press and hold
Shift
and tap each event.
To insert a note event
, press
Rec
or
Overdub
so the button is lit, and then press a
pad
. A note event will be created at the current location using the pad you pressed. You can keep pressing additional pads, which will continue to insert each press as a single note event in the order you pressed them (similar to a step sequencer). Press
Stop
to exit this function.
Note
: Depending on the
Auto-Advance on Step Record
setting, the current time position will either advance each time
you press a pad or remain in place. See the earlier description of
To edit the Pad
/
Note
,
Length
,
or Velocity or numeric Value of an event
, tap the value to select it, and then use the
data dial
or
–
/
+
buttons to change the value. Alternatively, double-tap it and use the numeric keypad that appears to enter a value (for
Length
,
Velocity
, or numeric
Value
only).
To edit the Length of an event according to your Timing Correct settings
, tap the value to select it, and then press and hold
Shift
and use the
data dial
or
–
/
+
buttons to change the value.
To shift the Pad
/
Note of an event by pad bank
, tap the value to select it, and then press and hold
Shift
and use the
data dial
or
–
/
+
buttons to change the pad bank.
To turn a Solo
/
Mute event on or off
, tap the desired setting on the
On
/
Off
switch. Alternatively, tap the
On
/
Off
switch to select it, and then use the
data dial
or
–
/
+
buttons to change the value.
To move an event
, tap it to select it, tap
Nudge
at the bottom of the screen, and then use the
data dial o
r
–
/
+
buttons to shift the event up or down. Repeat this for other events, or tap
Nudge
again to turn the feature off.
To move an event according to your Timing Correct settings
, tap the
Time
value to select it, and then press and hold
Shift
and use the
data dial
or
–
/
+
buttons to change the value.
To play an event
, tap it to select it, and then tap
Play
( ) at the bottom of the screen. This works with note events only.
To delete an event
, tap it to select it, and then tap
Delete
at the bottom of the screen. 233
Browser
The Browser lets you navigate your MPC hardware’s internal and external hard disks to load samples, sequences, songs, etc. Using filter buttons and user-definable folders, you can easily adapt it to your preferred workflow. You can also audition (preview) your samples before loading them.
Important
: You can install an additional SATA drive in your MPC hardware, allowing for even more storage space.
to learn more about this.
Important
: MPC X and MPC Live support read and write capability for
exFAT
,
FAT32
,
NTFS
, and
EXT4
file systems as well as read-only capability for
HFS+
file systems. We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.
To show the Browser
, do any of the following: • • Press Press
Menu
and then tap
Browse
(MPC X) or
Browser Shift
+ .
Menu
/
Browse
(MPC Live, MPC Touch).
To browse for files
, tap
Browse
in the lower-left corner. See the
section to learn about this.
To view the project’s sample pool and pads
, tap
Sample Assign
in the lower-left corner. See the
section to learn about this.
Browse
When the
Browse
tab is selected, you can do any of the following:
To browse your files by location
, tap
Places
on the left side of the screen.
Internal
is the internal drive of MPC X or MPC Live.
MPC Documents
is a shortcut to the
MPC Documents
folder on the internal drive of MPC X or MPC Live. If you have storage devices connected to USB ports or SD card slot of MPC X, MPC Live, or your computer (with MPC Touch), they will appear in this column, as well.
To browse your files by content
, tap
Content
and then tap the type of file:
Drums
,
Instruments
,
Samples
,
Demos
, or
My Files
to learn about these content buttons).
Clips
,
To browse your MPC Expansions
(MPC X or MPC Live only), tap
Expansions
to learn how to export MPC Expansions from your computer
to your MPC X or MPC Live).
To move up one folder level
, tap the
folder
/
icon
in the upper-left corner.
To move through a list
, swipe up or down, turn the
data dial
or use the
–
/
+
buttons.
To select a file or folder
, tap it once. 234
To enter a folder
, double-tap it or tap
Open
in the lower-right corner. Alternatively, press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to enter a selected folder. You can also tap one of the
folder buttons
(
1
–
5
) in the upper-right corner to jump immediately to those pre-assigned file paths (see
learn how to assign these file paths).
To load a selected file
, double-tap it, tap
Load
, or press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch). If the file is a sample, it will be loaded to the project’s sample pool. If the file is a project, it will be loaded in its entirety (you will be asked if you want to close your current project).
To load all files in a folder
, select the folder (so it is highlighted in the list), press and hold
Shift
, and then tap
Load All
in the lower-right corner.
Important
: Although you can load multiple files at once, any samples you load into a project will be automatically converted to full-quality uncompressed audio files, so they may use more storage space than they do on your external storage device. If you are unable to load multiple files at once due to this, select fewer files and try again.
To delete a selected file or folder
, press and hold
Shift
and then tap
Delete File
at the bottom of the screen.
To preview a selected sound
, tap and hold
Play
( ) at the bottom of the screen.
To enable or disable the audition function and set its volume level
, tap
Audition
at the bottom of the screen. In the screen that appears, tap
Auto
to enable or disable it, and tap and drag the
level slider
up or down to set the volume level. Tap
Audition
once more to hide the window.
To show the information for the current storage device
, press and hold
Shift
and then tap
Drive Info
at the bottom of the screen. The drive’s information will appear in a new window. Tap
OK
to return to the previous screen.
To format a storage device to use an exFAT file system
, select it in the
Browser
, press and hold
Shift
and then tap
Format Drive
at the bottom of the screen. In the window that appears, tap
OK
and then
Format
in the next window to format the device, or tap
Cancel
to return to the previous screen without formatting. This formatting process will set the device to use the exFAT file system, remove any partitions from the drive, and erase all of its content. (Devices that are uninitialized or do not have a file system will not be recognized by the MPC hardware and consequently cannot be formatted.) To get the most efficient use of the Browser, set the file paths to your favorite drive locations first. There are five
folder buttons
labeled
1
–
5
in the upper-right corner. You can set these to be shortcuts to five locations on your MPC hardware’s internal drive and/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 tap one of the
folder buttons
(
1
–
5
). Now, when you tap that folder button again, the Browser will show that folder’s content immediately. Use the six filter buttons to show only specific types of files in the list below. Folders will still be shown in the list.
To show project files only
, tap the
P
/
page icon
.
To show sequence files only
, tap the
bars icon
.
To show program files only
, tap the
four-squares icon
.
To show sample files only
, tap the
waveform icon
.
To show all file types
, tap the
three-pages icon
.
To show or hide MPC project folders
, tap the
MPC folder icon
. 235
Use the six
Content
buttons to show specific locations in the internal drive of MPC X or MPC Live and filter them automatically by file type:
Drums
: Tap this button to enter the
Expansions
/
The Vault 2
folder on the internal drive, viewing
program
files only.
Instruments
: Tap this button to enter the
Expansions
/
Instruments
folder on the internal drive, viewing
program
files only.
Clips
: Tap this button to enter the
Expansions
/
Clips
folder on the internal drive, viewing
program
files only.
Samples
: Tap this button to enter the
Expansions
/
The Vault 2
folder on the internal drive, viewing
sample
files only.
Demos
: Tap this button to enter the
Demos
folder on the internal drive, viewing
project
files only.
My Files
: Tap this button to enter the
MPC Documents
folder, viewing
all
files.
Sample Assign
When the
Sample Assign
tab is selected, you can do any of the following:
To select a program in the project
, double-tap the
Program
field at the top of the screen. In the list that appears, tap the desired program. Alternatively, tap the
Program
field and then use the
data dial
or the
–
/
+
buttons to select a location.
To move through the sample pool
, swipe up or down, turn the
data dial
, or use the
–
/
+
buttons.
To preview a selected sound
, tap and hold
Play
( ) at the bottom of the screen.
To enable or disable the audition function and set its volume level
, tap
Audition
at the bottom of the screen. In the screen that appears, tap
Auto
to enable or disable it, and tap and drag the
level slider
up or down to set the volume level. Tap
Audition
once more to hide the window.
To assign a sample to a pad
, press it or tap it on the screen so it lights
green
. Then, in the
Sample Pool
list, tap the desired sample. Alternatively, use the
data dial
or
–
/
+
buttons to select a sample, and press the
center cursor
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch) to assign it.
To clear a sample from a pad
, press it or tap it on the screen so it lights
green
. Then, tap
Clear Pad
at the bottom of the screen. 236
Sampler
The Sampler lets you record audio samples to use in your projects.
Important
: To record any audio, you need to connect an audio source to your MPC hardware or to your computer’s audio interface.
To open the Sampler
, do either of the following: • • Press Press
Menu
and then tap
Sampler
(MPC X).
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 hardware. 3.
Turn the
3
/
4 Rec Gain
(MPC X) or
Rec Vol
(MPC Live, MPC Touch) 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.
Tap the
Arm
button to record-arm the Sampler.
You can use the Sampler to record using four different methods:
, all described later in this chapter. The following controls are present regardless of which method you use. The Sampler page also contains the Auto Sampler, which lets you capture and convert any plugin preset or external
instrument preset into a Keygroup sampler patch. See
for more information. The time counter in the upper-right corner shows the current playhead position. This is shown in most of the modes.
to learn about this. 237
The upper-left
Input Source
field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
–
31,32
in Controller Mode) or a single input (
Input 1
–
4
in Standalone Mode,
Input 1
–
32
in Controller Mode). You can also select an internal signal from within your MPC hardware (
Resample L
,
Resample R
, or
Resample L+R
). Resampling does not require an audio connection because the source is internal 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 second upper-left
Mono
/
Stereo
field to choose whether your recorded samples will be monaural (
Mono
) or binaural (
Stereo
). The
Inserts
field shows any enabled or disabled effects for the Sampler. Tap 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. Learn more about how effects work in
. Tap the
Monitor
button to enable or disable input monitoring. When on, the audio you hear in your headphones will be taken
before
it reaches the 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
Q-Link Knob 1
(MPC X) or the
first Q-Link knob
in the
fourth column
(MPC Live, MPC Touch). 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.
To reset the
“
peak hold
,” which shows the highest level of your input signal in the level meter, tap it. 238
For reference, the
Sample Length
counter shows you the length of your sample during the recording procedure. Tap
Arm
to record-arm the Sampler. The button will then change to
Record
and show
Waiting for signal
. At that point, start recording by doing either of the following: • Start performing so that the incoming audio level exceeds the level of the
threshold slider
. • Tap
Record
under the
Sample Length To disarm the track instead
, tap
Cancel
. counter. Use the
Max Length
field to define the maximum sampling time. Alternatively, turn the
Q-Link Knobs 3
and
4
(MPC X) or the
third
and
fourth Q-Link knobs
in the
fourth column
(MPC Live, MPC Touch):
Minutes
and
Seconds
. You can record up to 19 minutes and 59 seconds (
19
:
59
) per sample. We recommend setting these to values that roughly match your estimated recording duration. 239
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
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 Tap
Record
under the
Sample Length
counter.
threshold slider
.
To insert a slice marker in a sample while recording
, tap
Slice+
(in the lower-right corner) as the sample records. Each time you tap it, a slice marker will be placed at that location.
To stop recording
, tap
Stop
under the
Sample Length
counter. 240
After you stop your recording, the
Keep or Discard Sample
window will appear. Use the
Edit Name
field to name the new sample. Tap it and use the virtual keyboard that appears. Use the
Program
field to assign the new sample to a program. Select <
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
, tap
Keep
at the bottom of the screen.
To discard the recording and return to the Sampler
, tap
Discard
at the bottom of the screen.
To play the recording
, tap
Play
at the bottom of the screen.
Tip
: We recommend editing your recorded sample in
Sample Edit Mode
for more information). 241
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
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 Tap
Record
under the
Sample Length
counter.
threshold slider
.
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
, tap 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. Tap it and use the virtual keyboard that appears. Otherwise, the process will add a consecutive number after the sample name. 242
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
Converting or Assigning Slices
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
Converting or Assigning Slices
).
To confirm your selections
, tap
Create
or
Keep
at the bottom of the screen.
To discard the recording and return to the Sampler
, tap
Discard
at the bottom of the screen.
To play the recording
, tap
Play
at the bottom of the screen.
Tip
: We recommend editing your recorded sample in
Sample Edit Mode
for more information).
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 tapping
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
, tap
Stop
under the
Sample Length
counter. When you are done recording, each pad that you have pressed during recording: • • • will have its will have its will have its
Slice
setting set to
Pad Start
and
Loop Position Pad Pad End
; set to the slice’s start point and end point values; and 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
Converting or Assigning Slices
).
Tip
: We recommend editing your recorded sample in
Sample Edit Mode
for more information). 243
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 tapping
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
, tap
Stop
under the
Sample Length
counter. When you are done recording, each pad that you have pressed during recording: • • • will have its will have its will have its
Slice
setting set to
Pad Start
and
Loop Position Pad Pad End
; set to the slice’s start point and end point values; and 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
Converting or Assigning Slices
).
Tip
: We recommend editing your recorded sample in
Sample Edit Mode
for more information).
Auto Sampler
244
Looper
The Looper lets you record and overdub audio in real time—a great tool for live performance as well as spontaneous moments in the studio. You can export the loop as a sample to use in your project.
To open the Looper
, do either of the following: • • Press Press
Menu Shift
+ , and then tap
Sampler
/
Looper Looper
. (MPC X). Below is a brief step-by-step process so you can get started quickly. Continue reading the rest of this chapter to learn how to use the Looper in different cases.
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.
3.
Connect a synthesizer, audio player, etc. to the input/inputs of your MPC hardware. Turn the
3
/
4 Rec Gain
(MPC X) or
Rec Vol
(MPC Live, MPC Touch) 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.
Tap the
Record To
selector so
Overdub
is selected. 6.
7.
Tap the
Rec
/
Record
button in the lower-right corner to record-arm the Looper. Play your audio source. The Looper will start recording immediately when the input level reaches the threshold value. Alternatively, tap /
Play
at the bottom of the screen 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. 8.
Tip
: You can record a loop while playing a sequence in the background for reference.
To stop recording
, tap /
Play
at the bottom of the screen.
To export your loop as a sample
, tap
Export
to open the
Keep or Discard Sample
window.
To clear the contents of the Looper
, tap
Clear
. 245
The time counter at the top of the screen indicates the current playhead position. This is shown in most of the
to learn about this. The upper-left
Input Source
field defines whether you are going to record an external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
–
31,32
in Controller Mode) or a single input (
Input 1
–
4
in Standalone Mode,
Input 1
–
32
in Controller Mode). You can also select an internal signal from within your MPC hardware (
Resample L
,
Resample R
, or
Resample L+R
). Resampling does not require an audio connection because the source is internal 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 second upper-left
Mono
/
Stereo
field to choose whether your recorded loop will be monaural (
Mono
) or binaural (
Stereo
). The
Inserts
field shows any enabled or disabled effects for the Looper. Tap 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. Learn more about how effects work in
. Tap the
Monitor
button to enable or disable input monitoring. When
on
, the audio you hear in your headphones will be taken
before
it reaches the 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
Q-Link Knob 1
(
Threshold
on MPC X) or the
first Q Link knob
in the
fourth column
(MPC Live, MPC Touch). The threshold slider will work only when
Sync
is
off
(see
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, tap it. 246
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 tap the /
Play
button on the screen, which will start playing the Looper.
Overdub
: Before recording, you must first tap 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. 247
To record with the Looper
:
Important
:
To record without erasing any audio you’ve already recorded in the loop
, use the
Overdub
button.
To overwrite the audio you’ve already recorded
, use the
Replace
button. If
Record To
is set to
Play
:
To start recording
, tap the
Replace
or
Overdub
button as the loop is playing. The Looper will start recording immediately.
To stop recording
, tap the
Replace
or
Overdub
button. The Looper will stop recording but continue playing.
To stop playback and recording
, tap the /
Play
button. If
Record To
is set to
Overdub
:
To start recording
, tap the /
Play
button on the screen. 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
, tap
Overdub
. The Looper will stop recording but continue playing.
To stop playback and recording
, tap the /
Play
button, or press
Stop
to stop sequence playback.
To play or stop the loop
(without recording), tap the /
Play
button on the screen.
To reverse loop playback
, tap
Reverse
. If
Sync
is
on
, playback will reverse once the Looper’s playhead reaches the end of the loop. If
Sync
is
off
, playback will reverse immediately.
To erase the loop immediately
, tap
Clear
. 248
To export the loop as a sample
: 1.
Tap
Export
to open the
Export Loop as a Sample
window. 2.
Tap the
Edit Name
field and use the virtual keyboard that appears to enter a new name. 3.
Optional
: Use the
Program
field to assign it directly to a program.
To ignore this feature
, select <
none
>. 4.
Optional
: If you’re assigning the sample to a program, use the
Assign to Pad
Alternatively, just press the pad.
To ignore this feature
, select
Off
. field to assign it to a specific pad. 5.
Use the
Root Note
field to select the sample’s root note. 6.
Optional
: Tap and hold your finger on
Play
to play the sample. 7.
Tap
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). 249
Pad Mixer
In the Pad Mixer, you can set a program’s levels, stereo panning, routing, and effects. This mode appears differently for each type of program: For
drum programs
, this mode shows a pad with controls for each individual pad (of 128). For
keygroup programs
, this mode shows a pad with controls for each individual keygroup (up to 128). For
clip programs
, this mode shows a pad with controls for each individual clip (up to 16). Even though you can view other pad banks, only
Pad Bank A
is relevant for clip programs. For
MIDI programs
,
plugin programs
, and
CV programs
, this mode is unavailable.
For more information on how these programs differ, please see
To enter the Pad Mixer
, do either of the following: • • Press Press
Menu
, and then tap
Pad Mixer
(MPC X).
Pad Mixer
. The Pad Mixer works like an audio mixer with various settings for each pad, shown in a 4x4 array. All of their functionality is identical. If a sample has been assigned to a pad, its name is displayed at the top of it.
To select a pad
, press its corresponding pad or tap it on the screen. Alternatively, use the numbered
Pad
field in the upper-left corner.
To view more channels
, use the
Pad Bank
buttons. 250
Use the
Program
field in the upper-left corner to select the program whose pads you want to view. Remember that only drum programs, keygroup programs, or clip programs will display properly in the Pad Mixer. Use the
Track
field at the top of the screen to select the desired track. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this. The automation button indicates the global automation state. This is shown in several modes. See
to learn about this.
To view a specific setting on all channels
, tap the
Level
,
Pan
,
Mute
,
Send
,
Insert
, or
Route
button at the bottom of the screen. You can tap the
Send
or
Insert
buttons multiple times to cycle through the four available slots for each. When a pad is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the channel strip: The first field shows the current pad number. Press a
pad
or double-tap the
field
to select a different pad. The second field shows where the pad is routed, which you can change:
Program
(the usual setting),
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that pad. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects. Tap
Solo
or
Mute
to solo or mute the pad (respectively). Adjust the
pan knob
or
level slider
to change the panning or level of the pad. 251
Levels
When the
Level
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the level of the currently selected pad. The level sliders and meters in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the level slider and meter.
Panning
When the
Pan
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the panning of the currently selected pad. The pan sliders in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the
pan knob
. 252
Mute
When the
Mute
tab is selected, mute the currently selected pad by doing any of the following: • • • Turn the Use the Tap the
– data dial
/
+ pad
. buttons. on the screen. When a pad is muted, its
M
button will light
red
.
Send Effects
When the
Send
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the send level of the currently selected pad. The level sliders in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the level slider. You can select up to
four send effects
for each pad. You can use various effects included in your MPC hardware as well as other VST and AU plugins installed on your computer. Tap the
Send
button to cycle through the four available slots for each. To learn how to use send effects, please see
.
Important
:
To use a send effect
, you have to load an effect into the corresponding send effect slot in the Channel Mixer. 253
Insert Effects
When the
Insert
tab is selected, use the
data dial
or
–
/
+
buttons to open a window where you can select an effect for the currently selected pad. Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect. The level meters in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a window where you can load, change, and enable or disable the effects for all four insert slots. You can select up to
four insert effects
for each pad. You can use various effects included in your MPC hardware as well as other VST and AU plugins installed on your computer. Tap the
Insert
button to cycle through the four available slots for each. To learn how to use insert effects, please see
.
Important
: When using keygroup insert effects, they will be applied to that keygroup only. Keep this in mind if you load insert effects to multiple keygroups with overlapping note ranges—the effects will overlap in that range as well. If a routing is set to anything other than
Program
, then a program insert effect will
not
be applied to that pad or keygroup.
Routing
When the
Route
tab is selected, use the
data dial
or
–
/
+
buttons to select the output of the currently selected pad. Usually, this is set to
Program
. Double-tap a
pad
on the screen to select a different destination:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. 254
Channel Mixer
In the Channel Mixer, you can set levels, stereo panning, and other settings for your tracks, programs, returns, submixes (while using your MPC hardware in Controller Mode), and masters.
To open the Channel Mixer
, do either of the following: • • Press Press
Menu
, and then tap
Ch. Mixer
(MPC X).
Channel Mixer
. The Channel Mixer works like an audio mixer with various settings for each channel, shown in a 4x4 array. Their functionality is mostly identical. The name of the track, program, or channel is displayed at the top of each one. Use the
Mixer
field at the top of the screen to select which mixer you want to view:
,
,
. Each page has slight differences, described in each section. The following controls and tabs are available for all of the mixers (or most of them, as indicated).
To select a channel
, tap its corresponding pad on the screen. Alternatively, use the field in the upper-left corner.
To view more channels
(while viewing tracks or programs), use the
–
/
+
buttons at the top of the screen. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this.
The automation button indicates the global automation state. This is shown in several modes. See
255
Levels
When the
Level
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the velocity level or volume level of the currently selected track, program, return, submix, or master. The level sliders and meters in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the level slider and meter.
Panning
When the
Pan
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the panning of the currently selected track, program, return, submix, or master. The pan sliders in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of a
pan knob
.
Mute
/
Solo
/
Rec Arm
Tap this tab to cycle it through
Mute
,
Solo
, and
Rec Arm
functions. When
Mute
is selected, mute tracks, programs, returns, submixes, or masters by doing any of the following: • • • • Turn or press the Use the Tap the
–
/
+ pad
buttons. on the screen. Turn each of the
center cursor Q-Link knobs
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch). to mute or unmute each of the pads. When a track, program, return, submix, or master is muted, its
M
button will light
red
. When
Solo
is selected, solo tracks, programs, returns, submixes, or masters by doing any of the following: • • • • Turn or press the Use the Tap the
–
/
+ pad
buttons. on the screen. Turn each of the
center cursor Q-Link knobs
or
Enter
(MPC X) or the
data dial
(MPC Live, MPC Touch). to solo or unsolo each of the pads. When a track, program, return, submix, or master is soloed, its
S
button will light
green
while other tracks are muted with their
M
buttons lit
red
. The
Solo
tab is available for tracks and programs only. When
Rec Arm
is selected, record-enable audio tracks by doing any of the following: • • • Turn or press the Use the Tap the
–
/
+
buttons.
pad center cursor
or
Enter
(MPC X) or the on the screen. Press and hold multiple tracks at once.
Shift data dial
(MPC Live, MPC Touch). while tapping a
pad
on the screen to record-enable • Turn each of the
Q-Link knobs
to record-arm or disarm each of the pads. The
Rec Arm
tab is available for audio tracks only. 256
Send Levels
(audio tracks, programs, and submixes only) When the
Send
tab is selected, use the
data dial
or
–
/
+
buttons to adjust the send level of audio tracks, programs, or submixes. The level sliders in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the level slider. You can use up to four send channels. Tap
Send
to cycle through the four available slots for each.
To learn how to use send effects
, please see
.
Important
: When using send channels, make sure you have already loaded at least one effect to it using the return mixer. See
below to learn how to do this.
Insert Effects
(audio tracks, programs, returns, submixes, and masters only) When the
Insert
tab is selected, use the
data dial
or
–
/
+
buttons to open a window where you can select an effect for the currently selected audio track, program, return, submix, or master. Instead of level sliders, there are fields that display 0–4 boxes to indicate which insert slots have a loaded effect. The level meters in each pad show a visual representation of the level. Double-tap a
pad
on the screen to open a large version of the level slider. You can select up to four insert effects for each audio track, program, return, submix, or master. Tap the
Insert
button to cycle through the four available slots for each.
To learn how to use insert effects
Routing
(audio tracks, programs, returns, and submixes only) When the
Route
tab is selected, use the
data dial
or
–
/
+
buttons to select the output of the currently selected program, return, or submix. 257
MIDI Tracks
The MIDI Track Mixer shows levels, panning, and mute states for all used tracks.
To view a specific setting on all tracks
, tap
Level
,
Pan
, or
Mute
at the bottom of the screen. Tap
Mute
/
Solo
to switch between them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the MIDI track channel strip:
Note
: This is the same as the MIDI track channel strip in Main Mode. The first field shows the current track (which you can change). The second field shows the current program the track is using (which you can change to a program of the same type). Tap
Solo
or
Mute
to solo or mute the track (respectively). Adjust the
pan knob
or
velocity slider
to change the panning or velocity of the track. 258
Audio Tracks
The Audio Track Mixer shows levels, mute/solo/record-arm states, send and insert effects, and routing for all used tracks.
To view a specific setting on all tracks
, tap
Level
,
Pan
,
Mute
/
Solo
/
Rec Arm
,
Send
,
Insert
, or
Route
at the bottom of the screen. Tap
Mute
/
Solo
/
Rec Arm
to cycle through them. When a track is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the audio track channel strip:
Note
: This is the same as the audio track channel strip in Main Mode. The first field defines the input source of the external audio signal, which you can set to a pair of inputs (
Input 1,2
–
3,4
in Standalone Mode,
Input 1,2
–
31,32
in Controller Mode) or a single input (
Input 1
–
4
in Standalone Mode,
Input 1
–
32
in Controller Mode). The second field shows where the track is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that audio track. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects for all four insert slots. Tap
Solo
or
Mute
to solo or mute the track (respectively). Tap the
Monitor
button to set how your audio track will be monitored. Tapping it will cycle through its three states: When set to
Auto
, you will hear incoming audio while the track is record-enabled only. When
on
, you will hear incoming audio whether or not the track is record-enabled. When
off
, you will never hear any incoming audio. 259
Tap the
automation button
or press
Read
/
Write
(MPC X) to cycle through its three states: When
off
, the audio track will ignore automation data. If you have already recorded or entered automation, tapping this will switch between Read (
R
) and Write (
W
) only, but you can override this and turn it off by pressing and holding
Shift
while pressing or tapping the button.
Important
: If you have already recorded automation and turn it off, the audio 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. (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 tapping the
global automation button in the upper-right corner of the screen. See
Adjust the
pan knob
or
level slider
to change the panning or level of the track. Tap the
Record Arm
button or press
Rec Arm
(MPC X) to record-enable the track. When you begin audio recording, the audio signal will be recorded to this track.
Tip
: You can select multiple tracks in the
Rec Arm
tab by pressing and holding
Shift
and tapping each
pad
on the screen. You can also do this in the Track View by pressing and holding
Shift
while tapping the
Arm
button to each track. 260
Programs
The Program Mixer shows levels, panning, mute states, send and insert effects, and routing for all programs.
To view a specific setting on all programs
, tap
Level
,
Pan
,
Mute
/
Solo
,
Send
,
Insert
, or
Route
at the bottom of the screen. Tap
Mute
/
Solo
to switch between them. Tap
Send
or
Insert
to cycle through the four available slots for each. When a program is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the program channel strip:
Note
: This is the same as the program channel strip in Main Mode. The first field shows the current program number and name (which you can change). The second field shows where the program is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode,
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode. You can also select a submix (
Sub 1
–
8
) in Controller Mode.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that program. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects for all four insert slots. Tap
Solo
or
Mute
to solo or mute the program (respectively). 261
Tap the
program automation button
to change the program’s automation. Tapping it will cycle through its three states: When
off
, the program will ignore automation data. If you have already recorded or entered automation, tapping this will switch between
Read
(
R
) and
Write
(
W
) only, but you can override this and turn it off by pressing and holding
Shift
while tapping the button.
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. (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 tapping the global automation button in the upper-right corner of the screen. See
Adjust the
pan knob
or
level slider
to change the panning or level of the program. 262
Returns
Pads, programs, and audio tracks can each be sent to up to four send channels. Their audio signals will be routed to the send channels at their designated send levels. After being processed by the effects on those channels, their signals are then sent to the assigned master output based on their return settings (levels, panning, etc.). This view displays the four return channels. The return mixer shows levels, panning, mute states, insert effects, and routing for all used tracks.
To view a specific setting on all returns
, tap
Level
,
Pan
,
Mute
,
Insert
, or
Route
at the bottom of the screen. You can tap
Insert
multiple times to cycle through the four available slots. When a return is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the return channel strip: The first field shows the current return number (which you can change). The second field shows where the return is routed, which you can change:
Out 1,2
–
7,8
or
Out 1
–
8
in Standalone Mode;
Out 1,2
–
31,32
or
Out 1
–
32
in Controller Mode (MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them).
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that return. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects for all four insert slots. Tap
Mute
to mute the return. Adjust the
pan knob
or
level slider
to change the panning or level of the return. 263
Submixes
The Submixer shows levels, panning, mute states, send and insert effects, and routing for the eight available submixes.
Important
: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software.
To view a specific setting on all submixes
, tap
Level
,
Pan
,
Mute
,
Send
,
Insert
, or
Route
at the bottom of the screen. You can tap
Send
or
Insert
multiple times to cycle through the four available slots for each. When a submix is selected, you can view and adjust all of its settings in the left side of the screen rather than using the tab buttons at the bottom. When viewing the submixer channel strip: The first field shows the current submix (which you can change). The second field shows where the submix is routed, which you can change:
Out 1,2
–
31,32
or
Out 1
–
32
.
Note
: When set to a mono channel, the left and right channels are summed post-pan knob. If the pan knob is set to the center position, the left and right channels will be summed and padded. If the pan knob is set to the maximum left or right positions, only the respective channel will be sent to the output. The
Inserts
field shows any enabled or disabled effects for that submix. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects for all four insert slots. Tap
Mute
to mute the submix. Adjust the
pan knob
or
level slider
to change the panning or level of the submix. 264
Masters
The Master Mixer shows levels, panning, mute states, and insert effects for all used stereo pairs of outputs (
Out 1,2
–
7,8
in Standalone Mode,
Out 1,2
–
31,32
in Controller Mode; MPC Live does not use Out 7,8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them).
To view a specific setting on all outputs
, tap
Level
,
Pan
,
Mute
, or
Insert
at the bottom of the screen. You can tap
Insert
multiple times to cycle through the four available slots. When viewing the master channel strip:
Note
: This is the same as the master channel strip in Main Mode. The first field shows the current master output (which you can change). The
Inserts
field shows any enabled or disabled effects for that master output. Tap the area under
Inserts
to open a window where you can load, change, and enable or disable the effects for all four insert slots. Tap
Mute
to mute that master output. Adjust the
pan knob
or
level slider
to change the panning or level of the master output. 265
Pad Mute Mode
Pad Mute Mode lets you easily mute pads within a program or set mute groups for each pad within a program.
To enter Pad Mute Mode
, do either of the following: • • Press Press
Menu Shift
+ , and then tap
Track Mute
/
Pad Mute Pad Mute
. (MPC X). There are two tabs you can view in this mode:
Pad Mute
or
Pad Group
. Tap each button in the lower-left corner to select it. See the following
Use the
Program
field at the top of the screen to select a program. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this.
The automation button indicates the global automation state. This is shown in several modes. See
Time Correct
lets you quantize pad mutes. This is useful when you want your mutes to line up with a specific time division. For example, with
Time Division
set to
1 Bar
, your mutes will always align with the beginning of the measure immediately after you press the pad. Tap
Time Division
at the bottom of the screen, and select a value from
1
/
16
to
2 Bars
(
T
indicates a triplet based time division). Tap
TC
at the bottom of the screen to enable or disable the Time Correct feature. 266
Pad Mute
You can mute or unmute individual sounds (on a single track) in real time by pressing the pads. This is useful if you want to hear a track without a particular sound or if you want to isolate specific sounds or combinations of sounds.
Tip
: This function is similar to muting pads one at a time in the grid—but more convenient.
To mute pads in this mode
: 1.
If the
Pad Mute
tab in the lower-left corner is not already selected, tap it. 2.
3.
Select the desired pad bank. Use the
To mute or unmute a pad’s sound Pad Bank Buttons
, press it or tap it on the screen. Muted pads are lit
yellow
. Unused pads do not show any sample names. or tap a pad bank shown on the left side of the screen.
red
. Unmuted pads are lit
To assign pads to pad groups within this tab
, turn each of the
Q-Link knobs
(when the
Screen Control
Q-Link button is selected) to assign each of the pads to a pad group. The number of each pad’s group is shown in its upper right corner. 267
Pad Group
The pad group feature extends the concept of pad mutes: you can mute or unmute multiple pads (on a single track) by pressing one pad that you have assigned to a mute group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different pad groups.
To use pad groups
: 1.
If the
Pad Group
tab in the lower-left corner is not already selected, tap it. 2.
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 tap it on the screen. 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
, tap the number of the desired mute group on the left side of the screen.
To remove it from the mute group
, tap
Off
. Alternatively, turn each of the
Q-Link knobs
(when the
Screen Control
Q-Link button is selected) to assign each of the pads to a pad group. The number of each pad’s group is shown in its upper-right corner. 268
Track Mute Mode
Track Mute Mode lets you easily mute tracks within a sequence or set track groups, enabling you to mute multiple tracks at once.
To enter Track Mute Mode
, do either of the following: • • Press Press
Menu
, and then tap
Track Mute Track Mute
(MPC X). . There are two tabs you can view in this mode:
Track Mute
or
Track Group
. Tap each button in the lower-left corner
to select it. See the following
sections to learn about each. Use the
Sequence
field at the top of the screen to select a sequence. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this.
Time Correct
lets you quantize track mutes. This is useful when you want your mutes to line up with a specific time division. For example, with
Time Division
set to
1 Bar
, your mutes will always align with the beginning of the measure immediately after you press the pad. Tap
Time Division
at the bottom of the screen, and select a value from
1
/
16
to
2 Bars
(
T
indicates a triplet based time division). Tap
TC
at the bottom of the screen to enable or disable the Time Correct feature. Tap
Solo
to turn track soloing on or off. When on, using Track Mute Mode will solo tracks instead of muting them. 269
Track Mute
This is useful if you want to hear a sequence without a particular track (e.g., muting your keyboard track to focus on the bass) or if you want to isolate specific sounds or combinations of sounds that are separated by track.
Tip
: This function is similar to, but more convenient than, muting tracks one at a time in the Track View.
To mute tracks in this mode
: 1.
If the
Track Mute
tab in the lower-left corner is not already selected, tap it. 2.
3.
Select the desired pad bank. Use the
To mute or unmute a track Pad Bank
buttons or tap a pad bank shown on the left side of the screen. , press the corresponding
pad
or tap it on the screen. 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
, turn each of the
Q-Link knobs
(when the
Screen Control
Q-Link button is selected) to assign each of the pads to a track group. The number of each pad’s track group is shown in its upper-right corner. 270
Track Group
The track group feature extends the concept of track mutes: you can mute or unmute multiple tracks (in a single sequence) by pressing one pad that you have assigned to a track group. This is useful if you want to hear a track without a particular group of sounds or if you want to isolate specific sounds in various combinations. You can create up to 16 different track groups.
To assign tracks to track groups
: 1.
If the
Track Group
tab in the lower-left corner is not already selected, tap it. 2.
3.
Select the desired pad bank by using the
Pad Bank To select a track to add to a mute group
buttons. , press the corresponding
pad
or tap it on the screen. 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
, tap the number of the desired mute group.
To remove the track from the mute group
, tap
Off
. Alternatively, turn each of the
Q-Link knobs
(when the
Screen Control
Q-Link button is selected) to assign each of the pads to a track group. The number of each pad’s track group is shown in its upper-right corner. 271
Next Sequence Mode
Next Sequence Mode lets you trigger different sequences simply by playing the pads. This is useful for live performances, letting you change a song’s structure in real time.
To enter Next Sequence Mode
, do either of the following: • • Press Press
Menu
, and then tap
Next Seq
(MPC X).
Next Sequence
. The time counter in the upper-right corner the current playhead position. This is shown in most of the modes. See
to learn about this. The sequence playlist on the left side shows a list-style overview of
all
used sequences in your project: The
Sequence
column shows the name of the song’s sequences. The
Length
column shows the bar length of a sequence. The
BPM
column shows the tempo of a sequence in beats per minute. The currently selected sequence is highlighted in the list. Tap a sequence in the list to select it. 272
In Next Sequence Mode, every pad is assigned to a sequence, starting from
Pad A01
with
Sequence 1
and ascending from there. The pads will show the names of their corresponding sequences. Empty pads correspond to unused sequences. The currently selected pad will flash
green
. During playback, change the next sequence that will play by pressing the corresponding pad or tapping it on the screen. If you do not select another sequence, the current sequence will repeat indefinitely. As a sequence plays, you can use the buttons at the bottom of the screen to change how playback works:
To switch to the currently selected sequence at the beginning of the next bar
, tap
Next Bar
. This is useful if you want to switch to another sequence before the current one ends without having to worry about timing issues.
To switch to the currently selected sequence immediately
, tap
Sudden
. The new sequence will start playing whether or not the current sequence is done. 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
, tap
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
, tap
Hold
.
To return to normal operation
, tap 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
, tap
Song
while playback is stopped. In the
Copy to Song
screen that appears, select a song, and then tap
Do It
to continue or
Close
to cancel. To read more about Song Mode, please see the
273
Song Mode
Song Mode lets you arrange sequences in a specific order and/or repetition to create songs. You can edit the structure of a song during playback for easy, on-the-fly composing. A project can contain up to 32 songs, each consisting of up to 999 “steps.” Each step can have an assigned sequence as well as the number of times that sequence will repeat.
To open Song Mode
, do either of the following: • • Press Press
Menu Shift
+ , and then tap
Next Seq
/
Song Mode Song
(MPC X). .
Important
: If a sequence is currently playing, stop playback before entering Song Mode. You cannot enter Song Mode during playback.
Important
: When creating a song, the program used by each track in the song’s
first sequence
will be used by
all subsequent tracks
. In other words, all identically numbered tracks (across sequences) will use the program used by the first sequence in the song—regardless of what programs each track uses while not in Song Mode. For example, if you create a project in this way…: • Track 1 of
Sequence 1
uses a
drum
program. • Track 1 of
Sequence 2
uses a
keygroup
program. • A song uses Sequence 1 as its first sequence and then uses Sequence 2 any time after it. …then, in that song, Track 1 in Sequence 2 will use the same drum program as Track 1, Sequence 1. Because of this, we recommend trying to be consistent while creating tracks in sequences that you intend to use in a single song. Remember that you can copy one track to another if you ever need to reorder the tracks of a sequence (see
Use the
Song
field to select the song you want to show. Use the
BPM
field to adjust the tempo of the sequence.
To set whether the sequence follows its own tempo
(
Seq
)
or a master tempo
(
Mst
), tap the
Seq
/
Mst
button next to the BPM field. Alternatively, press
Shift
+
Tap
/
Master
. 274
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. Empty pads correspond to unused sequences. Use the
Pad Bank
buttons to access the sequences assigned to pads in other banks.
To insert a step
: 1.
Tap a
step
in the sequence playlist after which you want to insert a step. 2.
Tap
Insert
in the lower-right corner of the screen.
Alternatively,
“
record
”
a song using the pads
:
Note
: The sequences or song will not play back as you use the pads to create your song in this way. Pressing the pads just enters their corresponding sequences as steps. 1.
2.
Press
Rec
or
Overdub
Press or tap the
pad
to “record-arm” the song. that corresponds to the first sequence you want to use. That sequence will appear in the sequence playlist as the first step. 3.
Repeat
Step 2
for each additional step you want to add to the sequence playlist. Press or tap a times to add to the number of times it plays.
pad
multiple 4.
Press
Stop
to stop “recording.” 275
To change a step’s sequence
: 1.
In the desired step, tap the
sequence name
. 2.
Use the
data dial
or
–
/
+
buttons to select another sequence.
To delete a step
, tap it, and then tap
Delete
in the lower-right corner of the screen.
To clear the entire sequence playlist
(delete all steps), tap
Clear
.
To switch to the next sequence at the beginning of the next bar during playback
, tap
Next
. 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 next sequence immediately during playback
, tap
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 convert the current song to a single sequence
: 1.
Tap
Convert
window. >
Seq
to open the
Convert to Sequence
2.
Use the
To Sequence
field to select which sequence you want the song to export to. 3.
Use the
Track Status
field to select whether you want the song to
Ignore Muted Tracks
or
Include Muted Tracks
in the new sequence. 4.
To confirm your selections
, tap
Do It
.
To cancel the process
, tap
Close
.
To render
/
export your song as an audio file
, tap
Export
to open the
Audio Mixdown
screen. See
to learn how to use this screen to export
your song. 276
Q-Link Edit Mode
Q-Link Edit Mode lets you determine what the Q-Link knobs control in other modes. This is helpful when you want to use the Q-Link knobs to control parameters that might not be shown in the current mode—or parameters that are shown across different modes.
To enter Q-Link Edit Mode
, do any of the following: • • • Press Press
Menu Shift
+ , and then tap
Q-Link Edit Screen Control
/
Edit
Press and hold one of the five (MPC X).
Q-Link
. buttons above the bottom of the window that appears (MPC X).
Q-Link knobs
, and then tap
Q-Link Edit
at the
To select an edit mode for the Q-Link knobs
, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five
Q-Link
buttons above the
Q-Link knobs
(
Project
,
Program
,
Pad Scene
,
Pad Param
, or
Screen Control
/
Edit
):
Project
: In this edit mode, the Q-Link knobs can control 16 parameters within the current project overall. See the
section to learn about this specific Q-Link Edit Mode.
Program
/
Audio Track
: In this edit mode, the Q-Link knobs can control 16 program or audio track parameters.
section to learn about this specific Q-Link Edit Mode.
Pad Scene
(for drum programs only): In this edit mode, the Q-Link knobs can control 16 parameters for the currently selected pad. See the following
section to learn about this specific Q-Link Edit Mode.
Pad Parameter
: 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. See the following
about this specific Q-Link Edit Mode.
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.). Use the
Track
field to select a track that uses the desired program (and therefore pad/pads). The contents of the screen below will vary based on (
1
) the type of program each track uses and (
2
) the Q-Link Edit Mode you selected. 277
Tap the
Learn
button to turn Learn Mode on or off. When
on
, adjusting a control in the MPC software window will immediately assign it to the currently selected Q-Link knob. This button is not available while in
Screen
Q-Link Edit Mode where the Q-Link knobs are unassignable.
To assign a function to a Q-Link knob in Learn Mode
: 1.
Tap
Learn
so the button is lit. (This will stop playback. Resuming playback will exit Learn Mode.) 2.
3.
Touch or turn the desired
Q-Link knob
. In the MPC software on your computer, click and drag the
slider
or The Q-Link knob will be able to control that parameter immediately.
knob
you want to assign to the Q-Link knob.
To assign functions to other Q-Link knobs
, repeat Steps 2–3.
To exit Learn Mode
, tap
Learn
(or resume playback).
The automation button indicates the global automation state. This is shown in several modes. See
At any time, in any mode, you can show the
QLinks
window over the touchscreen’s current contents. These are the same parameters and settings as what is shown in Q-Link Edit Mode.
To show the QLinks window
, press and hold any of the
Q-Link
buttons:
Project
,
Program
,
Pad Scene
,
Pad Param
, or
Screen Control
/
Edit
(MPC X) or the
Q-Link
button (MPC Live, MPC Touch).
To close the QLinks window
, release that
Q-Link
button. While the
QLinks
window is shown:
To adjust the settings of the selected knobs
, turn the corresponding
Q-Link knobs
on your MPC hardware.
To select an edit mode for the Q-Link knobs
, tap one of the five buttons at the bottom of the screen. If you are using MPC X, you can also press one of the five
Q-Link
buttons above the
Q-Link knobs
:
Project
,
Program
,
Pad Scene
,
Pad Parameter
, or
Screen
.
To turn Learn Mode on or off
, tap
Learn
. (This button is not available while in
Screen
Q-Link Edit Mode where the Q-Link knobs are unassignable.)
To enter Q-Link Edit Mode immediately
(regardless of the current mode), tap
Q-Link Edit
at the bottom of the window. 278
Project
In the
Project
Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the current project. Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:
MIDI Track
: MIDI track parameters. Use the
MIDI Track
field to select one of the MIDI tracks in your project.
Audio Track
: audio track parameters. Use the
Audio Track
field to select one of the audio tracks in your project.
Program
: program parameters. Use the
Program
field to select one of the programs in your project.
Return
: return parameters. Use the
Return
field to select one of
Returns 1
–
4
.
Submix
: submix parameters. Use the
Submix
field to select one of
Submixes 1
–
8
.
Master
: master parameters. Use the
Master
field to select one of the output pairs:
Outputs 1
/
2
–
7
/
8
in Standalone Mode or
Outputs 1
/
2
–
31
/
32
in Controller Mode (MPC Live does not use Out 7/8 in Standalone Mode but displays them to maintain compatibility with MPC X, which does use them). Next to the second row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:
Mixer
: general mixer parameters
Program
(in the
Program
tab if a drum program or clip program is selected): program parameters
Insert 1
–
4
(not available in the
MIDI Track
tab or
Program
tab if a MIDI program is selected): parameters for its program insert effects If the
Program
tab is selected, use the
Type
selector to determine whether the Q-Link knobs will control the parameters of the entire program (
Program
) or for a single pad (
Pad
).
To select a program
, use the
Program
field next to the top row of Q-Link knobs on the screen.
To select a pad
(if
Type
is set to
Pad
), use the
Pad
field. 279
Use the
Parameter
field to select the parameter you want to control with the currently selected Q-Link knob. When the
MIDI Track
tab is selected:
Mixer
: Off, Volume, Pan, Mute, Solo When the
Audio Track
tab is selected:
Mixer
: Off, Volume, Pan, Mute, Solo, Send 1–4
Insert 1
–
4
: Off, other available parameters depend on the effect When the
Program
tab is selected and
Type
is set to
Program
:
Mixer
: Off, Volume, Pan, Mute, Solo, Send 1–4
Program
: Off, Master Semi Tune, Master Fine Tune
Insert 1
–
4
: Off, other available parameters depend on the effect When the
Program
tab is selected and
Type
is set to
Pad
:
Mixer
: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program
Off Tuning : Filter Cutoff Amp Env Hold Amp Env Sustain Filter Env Attack Layer Sample Pan (1–4) Layer Semi Tune (1–4) Layer Fine Tune (1–4) Filter Resonance Filter Env Amount Amp Env Attack Amp Env Decay Filter Env Hold Filter Env Decay Filter Env Sustain Filter Env Release Velocity to Start Vel to Filter Attack Velocity to Env Amount Velocity to Filter Amp Env Release Layer Level (1–4) LFO to Pitch
Insert 1
–
4
: Off, other available parameters depend on the effect LFO to Filter LFO to Amp LFO to Pan LFO Wave LFO Rate LFO Sync Velocity to Pitch Vel to Volume Attack Velocity to Amp Velocity to Pan Layer Direction (1–4) Layer Offset (1–4) When the
Return
tab is selected:
Mixer
: Off, Volume, Pan, Mute
Insert 1
–
4
: Off, other available parameters depend on the effect When the
Submix
tab is selected:
Mixer
: Off, Volume, Pan, Mute, Send 1–4
Insert 1
–
4
: Off, other available parameters depend on the effect
Important
: Submixes are available only while using your MPC hardware in Controller Mode with the desktop version of the MPC software. When the
Master
tab is selected:
Mixer
: Off, Volume, Pan, Mute
Insert 1
–
4
: Off, other available parameters depend on the effect Tap the
Momentary
checkbox to turn momentary behavior on or off. When
on
, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob. When
off
, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob. 280
Program
/
Audio Track
In the
Program
/
Audio Track
Q-Link Edit Mode, the Q-Link knobs control 16 parameters within the currently selected program or audio track. When a
MIDI track
is selected: Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:
Mixer
: general mixer parameters
Program
: program parameters
Insert 1
–
4
: parameters for its program insert effects Use the
Type
selector to determine whether the Q-Link knobs will control the parameters of the entire program (
Program
) or for a single pad (
Pad
).
To select a program
, use the
Track
field at the top of the screen to select a track that uses it. The program name will appear in the
Program
field next to the top row of Q-Link knobs on the screen.
To select a pad
(if
Type
is set to
Pad
), use the
Pad
field. Use the
Parameter
field to select the parameter you want to control with the Q-Link knobs. When
Type
is set to
Program
:
Mixer
: Off, Volume, Pan, Mute, Solo, Send 1–4
Program
: Off, Master Semi Tune, Master Fine Tune
Insert 1
–
4
: Off, other available parameters depend on the effect 281
When
Type
is set to
Pad
:
Mixer
: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program
: Off Tuning Filter Cutoff Filter Resonance Filter Env Amount Amp Env Attack Amp Env Decay Amp Env Release Amp Env Hold Amp Env Sustain Filter Env Attack Filter Env Hold Filter Env Decay Filter Env Sustain Filter Env Release Layer Level (1–4) Layer Sample Pan (1–4) Layer Semi Tune (1–4) Layer Fine Tune (1–4) Velocity to Start Vel to Filter Attack Velocity to Env Amount Velocity to Filter LFO to Pitch
Insert 1
–
4
: Off, other available parameters depend on the effect Tap the
Momentary
checkbox to turn momentary behavior on or off. LFO to Filter LFO to Amp LFO to Pan LFO Wave LFO Rate LFO Sync Velocity to Pitch Vel to Volume Attack Velocity to Amp Velocity to Pan Layer Direction (1–4) Layer Offset (1–4) When
on
, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob. When
off
, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob. When an
audio track
is selected: Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:
Mixer
: general mixer parameters
Insert 1
–
4
: parameters for its program insert effects Use the
Parameter
field to select the parameter you want to control with the Q-Link knobs. Tap the
Momentary
checkbox to turn momentary behavior on or off. When
on
, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob. When
off
, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob. 282
Pad Scene
In the
Pad Scene
Q-Link Edit Mode, the Q-Link knobs control your favorite 16 parameters for the currently selected pad. You can select another pad simply by pressing it, allowing you to adjust the same 16 parameters for that new pad. (These assignments are automatically saved with other user settings. Any project you load will use these assignments.)
To select a pad
, press it. Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameters you want to control with the Q-Link knobs:
Mixer
: general mixer parameters
Program
: pad parameters (i.e., parameters used in Program Edit Mode) Use the
Parameter
field to select the parameter you want to control with the Q-Link knobs.
Mixer
: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program
: Off Tuning Filter Cutoff Filter Resonance Filter Env Amount Amp Env Attack Amp Env Decay Amp Env Release Amp Env Hold Amp Env Sustain Filter Env Attack Filter Env Hold Filter Env Decay Filter Env Sustain Filter Env Release Layer Level (1–4) Layer Sample Pan (1–4) Layer Semi Tune (1–4) Layer Fine Tune (1–4) Velocity to Start Vel to Filter Attack Velocity to Env Amount Velocity to Filter LFO to Pitch LFO to Filter LFO to Amp LFO to Pan LFO Wave LFO Rate LFO Sync Velocity to Pitch Vel to Volume Attack Velocity to Amp Velocity to Pan Layer Direction (1–4) Layer Offset (1–4) Tap the
Momentary
checkbox to turn momentary behavior on or off. When
on
, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob. When
off
, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob. 283
Pad Parameter
In the
Pad Parameter
Q-Link Edit Mode, the Q-Link knobs control the same pad parameter for the each of the 16 pads in the current pad bank. For example, if the
Parameter
is set to
Level
, the 16 Q-Link knobs will adjust the 16 independent
Level
settings for each pad in the current pad bank. You could then set the
Parameter
to
Pan
and use the Q-Link knobs to adjust the panning of all 16 pads. Next to the top row of Q-Link knobs on the screen, tap one of these tabs to select the type of parameter you want to control with the Q-Link knobs:
Mixer
: general mixer parameters
Program
: pad parameters (i.e., parameters used in Program Edit Mode) Use the
Parameter
field to select the parameter you want to control with the Q-Link knobs.
Mixer
: Off, Level, Pan, Pad Mute, Pad Solo, Send 1–4
Program
: Off Tuning Filter Cutoff Filter Resonance Filter Env Amount Amp Env Attack Amp Env Decay Amp Env Release Amp Env Hold Amp Env Sustain Filter Env Attack Filter Env Hold Filter Env Decay Layer Level (1–4) Filter Env Sustain Filter Env Release Layer Sample Pan (1–4) Layer Semi Tune (1–4) Layer Fine Tune (1–4) Velocity to Start Vel to Filter Attack Velocity to Env Amount Velocity to Filter LFO to Pitch LFO to Filter LFO to Amp LFO to Pan LFO Wave LFO Rate LFO Sync Velocity to Pitch Vel to Volume Attack Velocity to Amp Velocity to Pan Layer Direction (1–4) Layer Offset (1–4) Tap the
Momentary
checkbox to turn momentary behavior on or off. When
on
, moving the Q-Link knob will adjust its parameter, but the parameter will immediately return to its original position (when you turned Momentary on) when you release the Q-Link knob. When
off
, moving the Q-Link knob will adjust its parameter, and the parameter will remain at its new setting when you release the Q-Link knob. 284
Screen
In the
Screen
Q-Link Edit Mode, the Q-Link knobs will control only the parameter or group of parameters in your currently selected mode (e.g., Main Mode, Sample Edit Mode, etc.). 285
Pad Color Mode
Pad Color Mode lets you assign specific colors to your pads in each program.
To enter Pad Color Mode
, make sure you have first selected a track that uses the desired program, and then press
Menu
, and tap
Pad Color
.
Important
: If you are already in Pad Color Mode and want to assign pad colors for another program, exit Pad Color Mode first, and then select a track that uses the desired program in another mode. Use the field in the upper-left corner to set how the pad lights will display:
Off
: The pads will be unlit whether you are playing them or not.
Classic Velocity
: The pads will be unlit while you are not playing them. When you press them, they will light with colors according to the velocity: red indicates a high velocity, yellow indicates a low velocity.
Fixed
: The pads will be lit with their assigned colors whether you are playing them or not.
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 in the upper-left corner 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. 286
Use the
Single Pad
/
All Pads
select to determine whether you are setting the color for a
Single Pad
or
All Pads
.
Tip
:
To quickly assign that color to all pads in the program
, press and hold
Shift
while tapping a color button. Use the
color buttons
to select which color you are assigning.
Tip
:
To select the color button corresponding a specific pad’s color
, press and hold
Shift
, and then press the pad or tap it on the screen. Press a
pad
on your MPC hardware or tap it on the screen 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.), tap
Make Default
. In the window that appears, tap
Do It
to confirm your choice or
Cancel
to cancel. 287
MIDI Control Mode
You can use MIDI Control Mode on your MPC hardware to customize what MIDI messages are sent from certain controls on your hardware. This custom “control map” will then work whenever you are in MIDI Control Mode. The edits you make in MIDI Control Mode will be retained with the current MPC project. In Standalone Mode, this feature enables you to use your MPC X or MPC Live to control external MIDI devices connected to its MIDI out. In Controller Mode, this is helpful when using MPC as a plugin: you can use MIDI Control Mode to use your MPC hardware to control your host software, and then switch back to any other mode to control the MPC plugin.
To enter MIDI Control Mode
, press
Menu
, and then tap
MIDI Control
.
Important
:
In Standalone Mode
: Make sure your MPC hardware is using the correct MIDI output. You can set this in the
Preferences
).
In Controller Mode
: In your host software, make sure your MPC hardware is selected as a MIDI controller device. In the touchscreen, use the 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.
To select a control to edit
, do any of the following: • Press or turn it. In the lower-left corner, tap the the
XY
tab to edit the
XY pad
.
Hardware
tab to edit a
pad
,
button
, or
Q-Link knob
, or tap • • Tap the
Control
Double-tap the field in the upper-left corner, and then turn the
Control data dial
to select one. field, and then tap a control name in the menu that appears.
Note
: The
Control
field menu will show many more hardware controls than are actually available on your MPC hardware. This is because the list includes all possible controls from all current MPC models (MPC X, MPC Live, MPC Touch, etc.). You can edit only the controls that are described in this chapter.
Note
: The software window will also display a graphical interface resembling your MPC hardware. Editable controls show their current MIDI message. Pads and Q-Link knobs show their current MIDI channels. 288
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. 289
Buttons
These are the MIDI parameters you can edit for each button. You can edit the
Erase
,
Tap
,
Copy
/
Delete
buttons:
Undo
/
Redo
, or
Control
: This is the hardware control you are currently editing (
Erase
,
Tap
,
Undo
, or
Copy
).
Light LED
: This determines how the button’s LED (or multiple LEDs) will behave. When set to
Never
, the LEDs will always be off. When set to
MIDI Input
, the LEDs will light up when the software receives a MIDI message that matches the button. 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. 290
Q-Link Knobs
These are the MIDI parameters you can edit for each
Q-Link knob
:
Control
: This is the hardware control you are currently editing (
QLink 1
–
4
).
Light LED
: Although you can edit this parameter, it does not actually have a function on your MPC hardware. When set to
Never
, the LEDs will always be off. When set to
MIDI Input
, the LEDs will light up when the software receives a MIDI message that matches the Q-Link knob. 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 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. 291
XY Pad
These are the MIDI parameters you can edit for each axis of the
XY pad
:
Control
: This is the axis you are currently editing (
XYFX X-Axis
or
XYFX Y-Axis
). This field will be hidden if you tapped the
XY
tab to show the XY pad’s parameters. You can tap the
Hardware
tab to show this field.
Mute
: This button determines whether the axis is muted or not. When muted, its MIDI output is disabled. You must be viewing the
Settings
to do this.
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
).
MIDI Learn
You can use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project: • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and master outputs • Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer settings, LFO settings, and velocity • • Program parameters, which depend on the program type Insert effects parameters, which depend on the effect type These assignments will be saved with your MPC project.
292
Pad Perform Mode
Pad Perform Mode lets you assign musical scales/modes, chords, or progressions to the pads for more creative performance.
To enter Pad Perform Mode
, do either of the following while using a keygroup program, MIDI program, plugin program, or CV program: • • Press Press
Menu
, and then tap
Pad Perform Pad Perform
(MPC X). . Although you can enter Pad Perform Mode while using a drum program or clip program, it does not work with these programs. The touchscreen will show the current pad bank’s mapping of notes or chords. 293
Use the type selector in the top-left to determine what will be mapped over the pads:
Chromatic:
Each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key determined by the
Scale
will be lit, while pads with notes between the scale degrees will be unlit.
Notes
: Each pad is assigned a note, ascending by one scale degree with each pad.
Chords
: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. All available chords will play in the key determined by the
Scale
.
Chromatic Chords
: Each pad is assigned a chord, the root note ascending by one scale degree with each pad. You can play any chord type regardless of the key determined by the
Scale
. Essentially, this is like the Chords setting but with more options to play chords out of the set key.
Progressions
: Each pad is assigned a chord in a chord progression. You can play the pads in (or out of) order to construct songs quickly. The available chords are determined by the
Chord
field.
Tip
: You can use your own progressions (created in the desktop version of the MPC software) on your MPC X or
to learn more about this. Chromatic Notes in Pad Perform Mode. Notes in Pad Perform Mode. Chords in Pad Perform Mode. Chromatic Chords in Pad Perform Mode. Progressions in Pad Perform Mode. 294
Use the
Scale & Octave
fields to determine the root note and the scale type.
Root Note
(pitch and register): This is the starting point of the scale. The available notes are all chromatic notes across the range of the pads. The pad that’s assigned the root note will be lit differently (and highlighted on the screen) to indicate where the scale starts in each octave.
Scale Type
: This is the scale or mode based on the root note (this is disabled when
Type
is set to
Progressions
). The available scales are: Major Blues (minor) Natural Minor Flamenco Harmonic Minor Gypsy Major Bebop Chromatic Lydian Mixolydian Aeolian Locrian Pentatonic Minor Persian Phrygian Use the
Chord
fields to determine what chord type will play when pressing a pad. The chord will use those scale degrees based off of the pad’s root note. You can use this only when the
Type
is set to
Chords
or
Chromatic Chords
. When set to
Chords
, the available chords are: 1-3-5 (major/minor) 1-4-5 (sus4) 1-2-5 (sus2) 1-3-5-7 (major7/minor7) 1-3-5-7b (dominant) When set to
Chromatic Chords
, the available chords are: Sus2 Major9 Sus4 Minor9 Use the
Banks
field to determine how the notes are mapped across the pad banks.
Continuous
:
Pad 01
of one bank is always one scale degree higher than
Pad 16
of the previous bank.
Start on Root
:
Pad 01
will always be the root note of the scale in every pad bank. You can use the buttons at the bottom of the screen to quickly select different Types and Chords: Tap
Notes
to automatically set the
Type
to
Notes
. Tap
1-3-5
to automatically set the
Type
to
Chords
and set the
Chord
to
1-3-5
(major/minor). Tap
1-3-5-7
to automatically set the
Type
to
Chords
and set the
Chord
to
1-3-5-7
(major7/minor7). Tap
Progressions
to automatically set the
Type
to
Progressions
. Tap
Octave –
/
+
to shift the pad assignments down or up by an octave. Press
Shift
+
1-4-5
to automatically set the
Type
to
Chords
and set the
Chord
to
1-4-5
(sus4). Press
Shift
+
1-3-5-7b
to automatically set the
Type
to
Chords
and set the
Chord
to
1-3-5-7b
(dominant). Press
Shift
+
Note –
/
+
to shift the pad assignments down or up by a semitone, essentially raising or lowering the
Root Note
field by a half-step. 295
Appendix
Effects & Parameters
This chapter lists the available effects. To learn more about how effects work with MPC, please see
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
This is a spatial effect, designed to emulate a small room.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut
Reverb Medium
This is a spatial effect, designed to emulate a medium room.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut
Value Range Default Value
0–100 (dry–wet) 50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 50 0–100 15 0–100 10
Value Range Default Value
0–100 (dry–wet) 50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 50 0–100 15 0–100 10 296
Reverb Large
This is a spatial effect, designed to emulate the sound of a large hall.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut
Value Range
0–100 (dry–wet)
Default Value
50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 75 0–100 10 0–100 10
Reverb Large 2
This is a less CPU-intensive spatial effect, emulating the sound of a large hall.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut
Value Range
0–100 (dry–wet)
Default Value
50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 75 0–100 10 0–100 10
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.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut Gate In
Value Range Default Value
0–100 (dry–wet) 50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 75 0–100 10 0–100 10 0–100 0 297
Reverb Out Gate
This is a hall reverb that has an additional control. The reverb effect is cut off when the output drops below the level set in the
Gate Out
parameter.
Parameter
Dry/Wet Pre-Delay Early Reflection Density Diffuse Decay Lo-Cut Hi-Cut
Value Range
0–100 (dry–wet)
Default Value
50 1–100 50 0–100 50 0–100 50 0–100 50 0–100 75 0–100 10 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 Parameter
Dry/Wet Time Feedback Damping
Delay Mono Sync Parameter
Dry/Wet Time Feedback Damping
Value Range
0–100 (dry–wet)
Default Value
50 2–2000 ms 100 0–100 25 0–100 100
Value Range Default Value
0–100 (dry–wet) 50 1 bar – 1/16 triplets 1/4 0–100 50 0–100 100 298
Delay Stereo
Stereo Delay operates similarly to Mono Delay but in true stereo.
Parameter
Dry/Wet Time Feedback Damping
Delay Sync
(
Stereo
) Stereo Delay operates similarly to Mono Delay but in true stereo.
Parameter
Dry/Wet Time Feedback Damping
Delay LP
LP Delay is identical to the Mono Delay, but it uses a resonant low-pass filter in the delay line.
Parameter
Dry/Wet Time Feedback Cutoff Resonance
Delay HP
HP Delay is identical to the Mono Delay, but it uses a resonant high-pass filter in the delay line.
Parameter
Dry/Wet Time Feedback Cutoff Resonance
Value Range
0–100 (dry–wet) 2–2000 ms
Default Value
50 100 0–100 25 0–100 100
Value Range Default Value
0–100 (dry–wet) 50 1 bar – 1/16 triplets 1/4 0–100 50 0–100 100
Value Range
0–100 (dry–wet)
Default Value
50 2–2000 ms 500 0–100 50 0–100 50 0–100 20
Value Range
0–100 (dry–wet)
Default Value
50 2–2000 ms 100 0–100 50 0–100 33 0–100 33 299
Delay Analog
Analog Delay is similar to the Mono Delay, except that it’s designed to emulate an analog “Bucket Brigade”-style delay. This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Parameter
Dry/Wet Time Feedback
Delay Analog Sync
Analog Delay is similar to Mono Delay, except that it’s designed to emulate an analog “Bucket Brigade”-style delay. This delay has a unique character to it that gives a warmer sound by adding subtle inaccuracies in phase and timing.
Parameter
Dry/Wet Time Feedback Ramp
Delay Tape Sync
Tape Delay emulates a delay system using an analog tape loop and a series of tape heads to produce an echo effect. This delay type yields a very distinct echo sound often heard in reggae and dub-style music.
Parameter
Dry/Wet Time Feedback Ramp Head 1 Head 2 Head 3 Head 4 Tone Spread Wow & Flutter
Delay Ping Pong
This stereo delay allows you to set different delay times for its left and right repeats.
Parameter
Dry/Wet Time, Left Time, Right Feedback Damping
Value Range
0–100 (dry–wet) 2–2000 ms
Default Value
50 100 0–100 25
Value Range
0–100 (dry–wet)
Default Value
50 1 bar – 1/16 triplets 1/4 0–100 50 0–100 50
Value Range Default Value
0–100 (dry–wet) 50 1 bar – 1/16 triplets 1/4 0–100 50 0–100 50 0–100 100 0–100 0 0–100 0 0–100 0 0–100 50 0–100 50 0–100 50
Value Range
0–100 (dry–wet) 2–2000 ms
Default Value
50 100 2–2000 ms 100 0–100 25 0–100 100 300
Delay Multi-Tap
This delay is a mono delay which has three delay generators with independently adjustable delay times and stereo position.
Parameter
Dry/Wet Time 1 Time 2 Time 3 Feedback Pan 1 Pan 2 Pan 3 Damping
Value Range
0–100 (dry–wet) 2–2000 ms
Default Value
50 100 2–2000 ms 2–2000 ms 100 100 0–100 25 0–100 50 0–100 50 0–100 50 0–100 100 Gain 1 Gain 2 0–100 25 0–100 25 Gain 3 0–100 25
Flangers
A flanger is a modulated delay to emulate the sound created when running two analog tape machines in parallel with a slight time misalignment. Slow
Rate
settings can produce a “whooshing” jet engine sound, while faster rates result in more of a “warble.”
Options
Flanger Parameter Value Range Default Value
Dry/Wet Rate Feedback Delay Width
Flanger Sync Parameter
Dry/Wet Rate Feedback Delay Width 0–100 (dry–wet) 100 0–100 10 -100 – 100 0 0–100 20 0–100 80
Value Range
0–100 (dry–wet)
Default Value
100 8 bars – 1/16 triplets 1/4 -100 – 100 0 0–100 20 0–100 80 301
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 Parameter Value Range Default Value
Dry/Wet Delay Amount Width Feedback Rate
Chorus 4-Voice Parameter
Dry/Wet Delay Amount Width Feedback 0–100 (dry–wet) 0–100 0–100 0–100 0–100 0–100
Value Range
0–100 (dry–wet) 0–100 0–100 0–100 0–100 100 20 80 80 50 10
Default Value
100 20 80 80 50 Rate 0–100 10
Autopans
This effect uses an LFO to move the incoming signal back and forth across the stereo field, creating a rotary effect.
Options
,
Autopan Parameter
Dry/Wet Rate
Autopan Sync Parameter
Dry/Wet Rate
Value Range
0–100 (dry–wet)
Default Value
100 0–100 10
Value Range
0–100 (dry–wet) 8 bars – 1/32
Default Value
100 1/4 302
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 Parameter Value Range Default Value
Dry/Wet Rate 0–100 (dry–wet) 0–100 Sine to Square 0–100 (sine–square) 0 100 10
Tremolo Sync Parameter
Dry/Wet
Value Range
0–100 (dry–wet)
Default Value
100 Rate 1 bar – 1/16 triplets 1/4 Sine to Square 0–100 (sine–square) 0
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 Value Range
0–100 (dry–wet) 0–100
Default Value
100 10
Parameter
Dry/Wet Rate
Phaser 2 Parameter
Dry/Wet Rate
Phaser Sync Parameter
Dry/Wet Rate
Value Range
0–100 (dry–wet) 0–100
Default Value
100 10
Value Range
0–100 (dry–wet)
Default Value
100 1 bar – 1/16 triplets 1/4 303
HP
(High-Pass)
Filters Options
,
HP Filter
This effect is a static filter without modulation.
Parameter
Frequency Resonance
Value Range
10–19999 Hz 0–100
Default Value
1500 0
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 Low Frequency 0–100 (dry–wet) 80 0–100 50 High Frequency 0–100 100 Resonance 0–100 33 Rate 0–100 10
HP Filter Sync
This effect is a high-pass filter with its cutoff frequency modulated by an LFO.
Parameter HP Shelving Filter
This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
Parameter
Frequency Resonance Gain
Value Range Value Range
10–19999 Hz -18.0 – 18.0 dB
Default Value
Dry/Wet 0–100 (dry–wet) 100 Low Frequency 0–100 0 High Frequency 0–100 100 Resonance Rate 0–100 50 8 bars – 1/32 1/4
Default Value
1500 0–100 0 0.0
304
LP
(Low-Pass)
Filters Options
,
LP Filter
This effect is a static filter without modulation.
Parameter Value Range Default Value
Frequency Resonance 10–19999 Hz 1500 0–100 0
LP Filter Sweep
This effect is a low-pass filter with its cutoff frequency modulated by an LFO.
Parameter Value Range Default Value
Dry/Wet Low Frequency High Frequency 0–100 100 Resonance 0–100 33 Rate 0–100 (dry–wet) 80 0–100 0 0–100 10
LP Filter Sync
This effect is a low-pass filter with its cutoff frequency modulated by an LFO.
Parameter
Dry/Wet
Value Range
0–100 (dry–wet)
Default Value
100 Low Frequency 0–100 0 High Frequency 0–100 100 Resonance 0–100 50 8 bars – 1/32 1/4 Rate
LP Shelving Filter
This filter differs from the standard filter type, as it attenuates all frequencies after the cutoff point equally.
Parameter
Frequency
Value Range
10–19999 Hz
Default Value
1500 Resonance Gain 0–100 0 -18.0 – 18.0 dB 0.0
305
Parametric EQs Options
:
PEQ 2-Band, 2-Shelf
This effect is a combination of one two-band parametric equalizer and two shelving filters.
Parameter
Low Frequency Frequency 1 Frequency 2 High Frequency Q1 Q2 Low Gain Gain 1 Gain 2 High Gain
Value Range Default Value
22–1000 Hz 82–3900 Hz 220–10000 Hz 560–19999 Hz 220 820 2200 5600 0–100 0 0–100 0 -18.0 – 18.0 dB 0.0 -18.0 – 18.0 dB -18.0 – 18.0 dB -18.0 – 18.0 dB 0.0 0.0 0.0
PEQ 4-Band
This effect is a powerful four-band parametric equalizer with four independent EQ ranges.
Parameter
Low Frequency Frequency 1 Frequency 2 High Frequency Q1 Q2 Q3 Q4 Gain 1 Gain 2 Gain 3 Gain 4
Value Range
22–1000 Hz 82–3900 Hz 220–10000 Hz 560–19999 Hz 0–100 5 0–100 5 2200 5600 0–100 5 0–100 5 -18.0 – 18.0 dB 0.0 -18.0 – 18.0 dB -18.0 – 18.0 dB -18.0 – 18.0 dB
Default Value
220 820 0.0
0.0 0.0 306
Distortions Options
,
,
Distortion Amp
This effect is designed to reproduce the sound of a tube amplifier at high volumes.
Parameter
Dry/Wet Drive Tone Dynamics Output
Value Range Default Value
0–100 (dry–wet) 100 0–100 50 0–100 50 0–100 50 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.
Parameter
Dry/Wet Drive Output Low Low-Mid High-Mid High
Value Range Default Value
0–100 (dry–wet) 100 0–100 50 0–100 50 0–100 50 0–100 50 0–100 50 0–100 50
Distortion Grimey
This is a unique distortion effect that distorts a frequency range in a selectable band.
Parameter
Dry/Wet Drive Grime Center Width Resonance Output
Value Range Default Value
0–100 (dry–wet) 100 0–100 50 0–100 50 0–100 50 0–100 50 0–100 50 0–100 50
Distortion Overdrive
This distortion is designed to sound like a mildly distorting amplifier at medium volumes. It is the smoothest distortion type available.
Parameter
Dry/Wet Drive Tone Output
Value Range
0–100 (dry–wet)
Default Value
100 0–100 50 0–100 50 0–100 50 307
Distortion Custom
This effect is a highly customized distortion, capable of a wide range of useable sounds.
Parameter
Dry/Wet Drive +Soft +Clip –Soft –Clip Low Mid High
Value Range
0–100 (dry–wet) 0–100 5–75 5–50 5–75 5–50 -18.0 – 18.0 dB -18.0 – 18.0 dB -18.0 – 18.0 dB 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 Default Value
100 50 2 25 2 25 0.0 0.0 0.0 This is the most transparent compressor, able to perform substantial volume adjustments without artifacts.
Parameter
Dry/Wet Attack Release Threshold Ratio Oldskool Output
Compressor Opto
The Opto Compressor is modeled after a vintage compressor type using an optical circuit to control the volume reduction of the input signal. These compressors are usually associated with soft and unobtrusive attack and release characteristics.
Parameter
Dry/Wet Input Attack Release Threshold Ratio Knee Output
Value Range
0–100 (dry–wet) 0–100 0–100 -50 – 0 dB 1–20 Off, On -6 – 24 dB
Value Range
0–100 (dry–wet) -6 – 18 dB 0–100 0–100 -50 – 0 dB 1–20 1–100 -6 – 24 dB
Default Value
100 50 50 0 1 Off 0
Default Value
100 0 1 1 0 50 50 0 308
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
Dry/Wet Input Attack Release Threshold Ratio Knee Output
Compressor Vintage
This compressor has a sound similar to classic tube compressors, with their gentle yet pumping response and a dash of tube saturation.
Parameter
Dry/Wet Input Attack Release Threshold Ratio Knee Output
Bit Reducers Options
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.
Parameter
Dry/Wet Decimate Bit Reducer
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.
Parameter
Dry/Wet Rate Decimate
Value Range
0–100 (dry–wet) -6 – 18 dB 0–100 0–100 -50 – 0 dB 1–20 1–100 -6 – 24 dB
Value Range
0–100 (dry–wet) -6 – 18 dB 0–100 0–100 -50 – 0 dB 1–20 1–100 -6 – 24 dB
Value Range
0–100 (dry–wet) 0–100 4–32
Value Range
0–100 (dry–wet) 0–100 0–100
Default Value
100 0 1 0 0 1 50 50
Default Value
100 0 1 1 0 0 50 50
Default Value
100 0 32
Default Value
0 100 0 309
Other Options
Auto Wah
This effect is a low-pass filter modulated by an envelope that yields a classic funky “wah-wah”- like sound. The envelope is triggered by the incoming signal’s amplitude. The amount of the envelope on the cutoff frequency is user-definable.
Parameter
Dry/Wet Resonance Attack Release Center Sensitivity
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.
Parameter
Dry/Wet Frequency Asynchrony A Pan B Pan A Gain B Gain
Transient Shaper
A transient shaper can be used to enhance or soften the Attack and Release phases of audio material.
Parameter
Dry/Wet Attack Release Output
Value Range
0–100 (dry–wet) 0–100 0–100 0–100 0–100 0–100
Value Range
0–100 (dry–wet) 0–100 0–100 0–100
Default Value
100 75 30 30 50 50
Value Range Default Value
0–100 (dry–wet) -1000 – 1000 0–1000 0 100 0 0–100 0–100 0–100 0–100 0 100 75 75
Default Value
100 50 50 50 310
Glossary
This glossary briefly defines and explains many of the technical terms used throughout this manual.
Aftertouch
The majority of contemporary keyboards are capable of generating aftertouch messages. On this type of keyboard, when you press harder on a key you are already holding down, a MIDI aftertouch message is generated. This feature makes sounds even more expressive (e.g., through vibrato).
Aliasing Amount Amplifier Attack
Aliasing is an audible side effect arising in digital systems as soon as a signal contains harmonics higher than half the sampling frequency. Describes to which extent a modulation source influences a given parameter. 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
An
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 Bounce Clipping
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. The MPC hardware supports full 24-bit resolution. When you “bounce” a sequence, track, or program, you are rendering that part of your project as an audio file (as opposed to a MIDI file). The MPC hardware lets you bounce sequences, tracks, or programs as
samples
(saved to your project’s sample pool) or as full
audio tracks
(saved to your project’s sample pool
and
added directly to the current sequence). Bouncing a
track
will render that track after it is sent through its program. Bouncing a
program
will render all tracks that use that program after they are sent through it. Bouncing a
sequence
will render all tracks in that sequence after they are sent through their respective programs. 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 to
127
.
0
• 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 a
. 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. 311
CV CV
stands for
control voltage
, an analog method of sending control messages to external
synthesizers, drum machines, etc. CV messages are typically used in conjunction with
messages (CV messages determine the pitch of notes while Gate messages determine note activation and length). CV messages are sent from the CV out ports of your MPC hardware and to the CV in ports of your external MIDI device. Please note that each external MIDI device uses a specific control voltage range, which determines how many volts are used in each octave (e.g.,
1V
/
oct
). Be mindful of this when setting it up with the MPC software and/or controller hardware—mismatched voltage ranges can produce unusual/undesirable “re-scaling” of the octaves.
Decay Envelope Filter
Decay describes the descent rate of an
once the attack phase has reached its
maximum and the envelope drops to the level defined by the sustain value. 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.
You can see and read about the envelopes used in MPC Live in
. 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
, These are the available filters:
high-pass
,
band-pass
, and
band-stop
. 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 subtler sound while filters with six or eight poles are much more pronounced. 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! 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.
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
, an essential characteristic of a filter’s sound.
Gate Gate
messages are analog messages sent to external synthesizers, drum machines, etc. Gate
messages are typically used in conjunction with
messages (CV messages determine the pitch
of notes while Gate messages determine note activation and length). Gate messages are sent from the CV out ports of your MPC hardware and to the CV/Gate in ports of your external MIDI device. 312
LFO MIDI MIDI Channel MIDI Clock 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
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. 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. 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).
Modulation 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 ranges from
1
to
127
. A velocity value of
0
is equivalent to a note-off message.
Normalize
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. 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 Pitch-Bend
The process or the result of changing a signal’s position within the stereo panorama.
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 pitch-bend 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. 313
Program Program Change Release Resonance Root Key Sample Song Sample Rate Sequence
A program is a file that contains a list of all samples to be used, and settings for each sample (e.g., pad assignments, loop points, pitch tuning, effects, etc.) Program Edit Mode is where
you can edit and assign samples (read more about this in
). You can have a total of
128
programs in a project. There are three kinds of programs that use samples for their sound source. Drum programs are mostly used for creating drum programs and easy and quick assigning of samples to a pad. 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. Clip programs use several samples that can be looped (clips), each of which can assigned to a pad; launching different combinations of clips together lets you create intriguing, layered performances. These are MIDI messages that select sound programs. Programs
1
–
128
can be changed via program change messages. An
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 or emphasis is an important
parameter. It emphasizes the frequencies around
the filter cutoff frequency by amplifying 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. The root key defines the original pitch of a recorded instrument or of a sample. Samples in MPC contain the dedicated root key information. This information will be created automatically during recording or importing. 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 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. This is the frequency representing the amount of individual digital sample scans per second that are taken to capture an analog signal digitally. For normal CD audio recordings,
44100
samples per second are used, also written as
44.1 kHz
. You can export audio using sampling rates up to
96 kHz
(see
44.1 kHz
. A sequence is the most basic “building block” of music you can create within an MPC project. MIDI information from your MPC hardware pads, buttons, and Q-Link knobs are recorded to the tracks of a sequence. Each sequence on your MPC hardware can contain
128
MIDI tracks and
8
audio 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, MPC Live has a dedicated Song Mode that lets you chain sequences together to create a song. 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. 314
Stretch Factor Sustain Time-Stretch Track Trigger Warp
The stretch factor is a value generated by the
algorithm in the software. When you
record an audio file, the current sequence tempo will be embedded with it. This information is stored within the sample file when you save the project. When you warp an audio track region, the warping algorithm uses this sequence tempo and the current value in the
BPM
field to generate the stretch factor. This term describes the level of an
remaining constant after it has passed the attack
and decay phases. Once reached, the sustain level is kept until the trigger is terminated.
below. A sequence on your MPC hardware can contain
128
MIDI tracks and
8
audio tracks. Each
MIDI track
contains MIDI note events and controller data. In this case, the track contains no audio information—only MIDI information that uses the samples in a program (or an external MIDI sound module) to generate its audio. You can edit your performance in many different ways once the performance has been captured. Each
audio track
contains an audio signal that has been recorded or imported into your project. You can edit this audio within the software and incorporate it into your sequences alongside your MIDI tracks. 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. The Warp feature lengthens or shortens a region of an audio track or sample without changing its pitch. This enables you to fit the length of an audio track or sample to the length of a sequence, a bar in your sequence, etc. while maintaining its original key. Please note that the Warp algorithms are very CPU-intensive and can result in audio drop outs during playback if used too freely. Be mindful of how (and how often) you use the warp function. You can reduce the CPU resources required by doing any/all of the following: Minimize the amount of pitch adjustment of warped audio. In Program Edit Mode, avoid using extreme
Stretch
values. Avoid warping very small audio regions. Warp as few tracks or track regions as possible (i.e., reduce the number of total number of voices of the polyphonic limit that use the Warp algorithm at a given time), especially instances where the warped regions start at the same time. Avoid rapidly triggering samples that are warped. If you have warped samples used in a drum program, consider using the
Flatten Pad
function to consolidate the affected pad’s layers into one audio sample (see
to learn about this). After you flatten the pad, its sample/samples no longer need to be warped. 315
SATA Drive Installation
To create more internal storage space on your MPC hardware, you can purchase a
SATA
(Serial ATA) drive and install it yourself, but read this chapter first. Your MPC X or MPC Live can support nearly any standard 2.5” SATA drive on the market—either a solid-state drive (SSD) or hard-disk drive (HDD). Make sure it uses a
2.5
” (63.5 mm) form factor and uses (or can use) one of these file systems:
exFAT
,
FAT32
,
NTFS
, or
EXT4
(for read and write capability) or
HFS+
(for read-only capability).
Note
: We recommend using an exFAT file system as it is the most robust one supported by both Windows and macOS.
Note
: Alternatively, you could install an
mSATA
(mini-SATA) drive, but make sure you also purchase an adapter that enables it to fit into a typical 2.5” SATA interface. 1.
2.
Make sure your MPC hardware is powered
off
. Locate the
SATA drive panel
in the center of the bottom panel of your MPC hardware. Use a Phillips-head screwdriver to remove the screws (don’t lose them!), and remove the SATA drive panel. 3.
Gently pull the
SATA connector and cable
out from inside your MPC hardware. Be careful not to disturb anything inside—handle just the SATA connector and cable. 4.
5.
Connect your Use four
SATA drive 3x5mm
to the
SATA connector mounting screws
. Make sure the connection is secure. (included with MPC hardware or with your SATA drive) to secure the SATA drive to the SATA drive panel. Do not overtighten the screws, but make sure the drive is secure and does not shake. 6.
Place the SATA drive panel back onto the bottom panel of your MPC hardware, and use the original screws to secure it in place. You can now access this drive while using your MPC hardware! In Standalone Mode, this drive will appear as a second internal drive. In Controller Mode, this drive will appear as another drive connected to your computer (just as a USB drive or SD card connected does when connected to your MPC hardware). 316
MIDI Machine Control
(
MMC
) Your MPC hardware can send and receive MIDI Machine Control (MMC) messages, a standard protocol for transport controls. The MPC hardware can send these messages:
MPC Button MMC Command Sent
Rec Overdub Stop Play MMC Record Strobe MMC Record Strobe MMC Stop MMC Deferred Play (when recording starts) (when recording starts) , then MMC Record Exit , then MMC Record Exit Play Start MMC Locate Zero, then Deferred Play Data Dial, –/+, Step >, Bar <>> MMC Locate values 4.
5.
6.
7.
To set up your MPC hardware to send MMC messages to an external device
: 1.
Use a standard 5-pin MIDI cable to connect your MPC hardware’s device.
MIDI Out A
to the MIDI input of your external 2.
3.
Press
Menu
Tap the to show the menu, and tap the
Sync
tab.
gear icon
to enter the
Preferences
. Tap the Tap the Exit the
Send Port 1 Send MMC
field, and use the
data dial
or box so it is enabled (checked).
Preferences
.
–
/
+
buttons to select Configure your other device properly so it can receive MMC messages.
Midi Out A
. The MPC hardware can receive these messages:
MPC Command Received MPC Function
MMC Deferred Play MMC Locate Zero, then Deferred Play MMC Stop Play Play Start Stop MMC Record Strobe MMC Pause Record (Rec) Stop MMC Locate values Change location in sequence
To set up your MPC hardware to receive MMC messages from an external device
: 1.
Use a standard 5-pin MIDI cable to connect your MPC hardware’s device.
MIDI In A
to the MIDI output of your external 2.
3.
4.
Press
Menu
Tap the Tap the to show the menu, and tap the
Sync
tab.
Receive MMC gear icon
box so it is enabled (checked). to enter the
Preferences
. 5.
6.
Exit the
Preferences
. Configure your other device properly so it can send MMC messages. 317
Technical Specifications
Specifications are subject to change without notice.
MPC X Digital Audio System ADCs Mic Inputs 1
–
2
(2) balanced XLR+1/4” (6.35 mm) TRS
DACs Digital Signal Processing Dynamic Range SNR THD
+
N Preamp EIN Line Inputs 1
–
2
(2) balanced XLR+1/4” (6.35 mm) TRS
Line Inputs 3
(2) balanced 1/4” (6.35 mm) TRS
Inst Inputs 1
(6.35 mm) TS – –
4 2
(2) unbalanced 1/4”
Frequency Response Maximum Input Level Sensitivity Gain Range Dynamic Range SNR THD
+
N Frequency Response Maximum Input Level Sensitivity Gain Range Dynamic Range SNR THD
+
N Frequency Response Maximum Input Level Sensitivity Gain Range Dynamic Range SNR THD
+
N Frequency Response Maximum Input Level Sensitivity Gain Range Input Impedance
24-bit @ 44.1, 48, or 96 kHz 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point 112 dB (A-weighted) 111 dB (1 kHz, +4 dBu, A-weighted) 0.003% (1 kHz, +4 dBu, -1 dBFS) -135 dBu (max gain, 40 Ω source, A-weighted) -129.5 dBu (max gain, 150 Ω source, unweighted) 20 Hz – 20 kHz (+0.2 / -0.2 dB) +12.5 dBu -46 dBu 58 dB 114 dB (A-weighted) 112 dB (1 kHz, +4 dBu, A-weighted) 0.003% (1 kHz, +4 dBu, -1 dBFS) 20 Hz – 20 kHz (+0.1 / -0.1 dB) +20 dBu -9.5 dBu 29.5 dB 114.5 dB (A-weighted) 112.5 dB (1 kHz, +4 dBu, A-weighted) 0.003% (1 kHz, +4 dBu, -1 dBFS) 20 Hz – 20 kHz (+0.1 / -0.1 dB) +20 dBu -10 dBu 30 dB 113.5 dB (A-weighted) 111.5 dB (1 kHz, +4 dBu, A-weighted) 0.003% (1 kHz, +4 dBu, -1 dBFS) 20 Hz – 20 kHz (+0.1 / -0.2 dB) +10 dBu -20 dBu 30 dB ~ 1 M Ω 318
Phono Inputs
(2) unbalanced RCA
Dynamic Range SNR THD
+
N
108 dB (A-weighted, 63 mVrms @ 1kHz, -1 dBFS, 20 Ω source) 86 dB (A-weighted, 4 mVrms @ 1kHz, 20 Ω source) 0.005% (1 kHz, -46 dBu, -1 dBFS) 63 mVrms (1 kHz)
Master Outputs 1
–
2
(2) impedance-balanced 1/4” (6.35 mm) TRS
Maximum Input Level Sensitivity Dynamic Range THD
+
N Frequency Response Maximum Input Level Sensitivity
2 mVrms (1 kHz) 114 dB (A-weighted) 0.006% (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.0 / -0.2 dB) +20 dBu 51 Ω 114 dB (A-weighted)
Outputs 3–4
(2) impedance-balanced 1/4” (6.35 mm) TRS
Outputs 5–8
(4) impedance-balanced 1/4” (6.35 mm) TRS
Headphone Outputs
(1) 1/4” (6.35 mm) stereo headphone (1) 1/8” (3.5 mm) stereo headphone
Dynamic Range THD THD
+ +
N Frequency Response Maximum Input Level Sensitivity Dynamic Range N Frequency Response Maximum Input Level Sensitivity Dynamic Range THD
+
N
0.006% (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.0 / -0.2 dB) +20 dBu 51 Ω 118.5 dB (A-weighted) 0.001% (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.1 / -0.0 dB) +20 dBu 51 Ω 111 dB (A-weighted) 0.007% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones) 20 Hz – 20 kHz (+0.0 / -0.2 dB)
Frequency Response Maximum Power Delivered
360 mW (<1% THD)
Maximum Output Level
+20 dBu 319
Mechanical Pads Knobs Display Memory RAM
(16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons (16) 360° touch-sensitive Q-Link knobs for parameter adjustment (7) 270° knobs for gain, mix & level adjustment (1) 360° encoder for value/data adjustment 10.1” (25.6 cm) full-color 1280 x 800 display with capacitive multi-touch 2 GB
Connections Storage
Expandable via SATA connections
File System Compatibility
exFAT (read & write) (recommended) FAT32 (read & write) NTFS (read & write) EXT4 (read & write) HFS+ (read only) Audio Files: AIF/AIFF, MP3, WAV (2) XLR+1/4” (6.35 mm) TRS inputs (Input 1/2) (2) 1/4” (6.35 mm) TRS inputs (Input 3/4: 1 stereo pair) (2) 1/4” (6.35 mm) TS instrument inputs (Inst 1/2) (2) RCA inputs (Input 3/4: 1 stereo pair, phono- or line-level) (2) 1/4” (6.35 mm) TS footswitch inputs (FS 1/2) (2) 5-pin MIDI inputs (8) 1/4” (6.35 mm) TRS outputs (Main L/R, Outputs 3/4–7/8: 4 stereo pairs) (4) 5-pin MIDI outputs (8) 1/8” (3.5 mm) CV/Gate outputs (1) 1/4” (6.35 mm) stereo headphone output (1) 1/8” (3.5 mm) stereo headphone output (2) USB Type-A ports (1) USB Type-B port (1) SD card slot (1) power adapter input
Power Dimensions
(width x depth x height)
Weight
via power adapter: 19 V, 3.42 A, center-positive, included 19.9” x 16.7” x 3.4” / 50.5 x 42.4 x 8.7 cm (display flat) 19.9” x 15.3” x 8.4” / 50.5 x 38.8 x 21.4 cm (display upright) 12.57 lb. 5.66 kg 320
MPC Live Digital Audio System Line Inputs
(2) balanced 1/4” (6.35 mm) TRS
ADCs DACs Digital Signal Processing Dynamic Range SNR
24-bit @ 44.1, 48, or 96 kHz 24-bit @ 44.1, 48, or 96 kHz 32-bit floating point 113.5 dB (A-weighted) 108 dB (1 kHz, +4 dBu, A-weighted) 0.001% (1 kHz, +4 dBu, -1 dBFS)
Phono Inputs
(2) unbalanced RCA
THD
+
N Frequency Response Maximum Input Level Sensitivity Gain Range Dynamic Range SNR
20 Hz – 20 kHz (+0.0 / -0.1 dB) +11 dBu -13.5 dBu 24.5 dB 107 dB (A-weighted, 63 mVrms @ 1 kHz, -1 dBFS, 20 Ω source) 86 dB (A-weighted, 4 mVrms @ 1 kHz, 20 Ω source) 0.009% (1 kHz, -46 dBu, -1 dBFS)
Master Outputs 1
–
2
(2) impedance-balanced 1/4” (6.35 mm) TRS
THD
+
N Maximum Input Level Sensitivity Dynamic Range THD
+
N Frequency Response Maximum Input Level Sensitivity
63 mVrms (1 kHz) 2 mVrms (1 kHz) 113 dB (A-weighted) 0.002% (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.0 / -0.5 dB) +9 dBu 51 Ω 116 dB (A-weighted)
Outputs 3
–
6
(4) impedance-balanced 1/4” (6.35 mm) TRS
Headphone Output
(1) 1/8” (3.5 mm) stereo headphone
Dynamic Range THD
+
N Frequency Response Maximum Input Level
0.001% (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.0 / -0.1 dB) +9 dBu 51 Ω
Sensitivity Dynamic Range THD
+
N Frequency Response Maximum Power Delivered
20 Hz – 20 kHz (+0.0 / -0.2 dB) +35 mW (<1% THD, 32 Ω headphones)
Maximum Output Level
112 dB (A-weighted) 0.005% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones) +10 dBu 321
Mechanical Pads Knobs Display Memory RAM
(16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons (4) 360° touch-sensitive Q-Link knobs (4) Q-Link knob columns accessible via Q-Link button (1) 360° encoder for value/data adjustment and selection via push 7” (17.8 cm) full-color 1280 x 800 display with capacitive multi-touch 2 GB
Connections Storage
Expandable via SATA connections
File System Compatibility
exFAT (read & write) (recommended) FAT32 (read & write) NTFS (read & write) EXT4 (read & write) HFS+ (read only) Audio Files: AIF/AIFF, MP3, WAV (2) 1/4” (6.35 mm) TRS inputs (1 stereo pair) (6) 1/4” (6.35 mm) TRS outputs (3 stereo pairs) (1) 1/8” (3.5 mm) stereo headphone output (2) RCA inputs (1 stereo pair) (2) 5-pin MIDI inputs (2) 5-pin MIDI outputs (2) USB Type-A ports (1) USB Type-B port (1) SD card slot (1) power adapter input
Power Dimensions
(width x depth x height)
Weight
via power adapter: 19 V, 3.42 A, center-positive, included via battery: lithium-ion, rechargeable, up to 6 hours of battery life 16.7” x 8.8” x 2.7” 42.4 x 22.4 x 6.9 cm 5.9 lb. 2.7 kg 322
MPC Touch Line Inputs
(2) balanced 1/4” (6.35 mm) TRS
Dynamic Range SNR THD
+
N Frequency Response
102 dB (A-weighted) 99 dB (1 kHz, +4 dBu, A-weighted) 0.002% (1 kHz, +4 dBu, -1 dBFS) 20 Hz – 20 kHz (+0.1 / -0.1 dB)
Maximum Input Level Input Impedance Sensitivity Gain Range
+15 dBu 12 K Ω (balanced) , 5 K Ω (unbalanced) -16 dBu 31 dB
Main Outputs
(2) impedance balanced 1/4” (6.35 mm) TRS
Dynamic Range THD
+
N Frequency Response
100 dB 0.006% (A-weighted) (1 kHz, -1 dBFS) 20 Hz – 20 kHz (+0.25 / -0.25 dB)
Maximum Input Level Output Impedance
+8 dBu 100 Ω 0.009% (1 kHz, -1 dBFS, 10 mW/channel into 32 Ω headphones)
Headphone Output
(1) 1/8” (3.5 mm) stereo headphone
THD
+
N Frequency Response Maximum Output Level
+6 dBu
Maximum Power Delivered
12 mW/channel
Output Impedance
33 Ω
Mechanical Pads Knobs
20 Hz – 20 kHz (+0.3 / -0.3 dB) (16) velocity- and pressure-sensitive pads, RGB-backlit (8) banks accessible via Pad Bank buttons (4) 360° touch-sensitive Q-Link knobs (4) Q-Link knob columns accessible via Q-Link button (1) 360° encoder for value/data adjustment and selection via push
Display Connections
7.0” (17.8 cm) full-color 1280 x 800 display with capacitive multi-touch (2) 1/4” (6.35 mm) TRS inputs (1 stereo pair) (2) 1/4” (6.35 mm) TRS outputs (1 stereo pair) (1) 1/8” (3.5 mm) stereo headphone output (1) 1/8” (3.5 mm) MIDI input (1/8”-to-5-pin adapter included) (1) 1/8” (3.5 mm) MIDI output (1/8”-to-5-pin adapter included) (1) USB Type-B port (1) power adapter input
Power
via power adapter: 6 VDC, 3 A, center-positive, included
Dimensions
(width x depth x height) 16.2” x 8.6” x 1.9” 41.1 x 21.8 x 4.8 cm
Weight
4.6 lb. 2.1 kg 323
Trademarks & Licenses
Akai Professional and MPC are trademarks of inMusic Brands, Inc., registered in the U.S. and other countries. Ableton is a trademark of Ableton AG. ASIO and VST are trademarks of Steinberg Media Technologies GmbH. The
Bluetooth
word mark and logos are registered trademarks owned by Bluetooth SIG, Inc. and any use of such marks by Akai Professional is under license. MPC software incorporates élastique Pro V3 by zplane.development. Apple and macOS are trademarks of Apple Inc., 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. For complete legal information, visit
akaipro.com
/
product-legal
324
Addenda
Updates in MPC 2.1
New Features Exporting Expansions
You can export MPC Expansion Packs (installed on your computer) to your MPC X or MPC Live for use in its
Standalone Mode. (This has been added to
To export MPC Expansions
: 1.
2.
Connect your MPC X or MPC Live to your computer. Make sure both are powered on. On your computer, open the MPC software. 3.
4.
On your MPC X or MPC Live, enter Controller Mode. In the MPC software window, click the
menu icon
( ≡ ), select
File
>
Export
, and then click
Expansion…
. 5.
In the
Export Expansion to Standalone MPC
window that appears, click the
Drive
menu and select a storage device that you will use with your MPC X or MPC Live: the internal SATA drive (if you have installed one in your MPC X or MPC Live), an SD card, or a USB flash drive. 6.
In the
Expansions
list, click the box next to each one to select or deselect it. Only the selected ones will be exported. Click
Select all
to select all of them or
Select none
to deselect all of them. 7.
Click
Export
to start exporting, or click
Cancel
to close the window and not export anything. The exporting process creates an
Expansions
folder at the root level of your storage device and copies your MPC Expansions into it.
To use your expansions
, restart your MPC X or MPC Live in Standalone Mode, enter the
Browser
, and tap
Expansion
. 325
Snap
:
Absolute & Relative
While editing a MIDI or audio track, you can now use the Grid View or Audio Edit Mode to move or copy events using two different ways of “snapping” note events to the grid: Absolute or Relative. (This has been added to
To view the Settings
, tap the
gear icon
. Use the
Snap Mode
selector to set how events “snap” to the grid.
Absolute
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window). This is the typical and traditional method of using the snap/quantization feature.
Relative
: Events will “snap” to the nearest time division on the grid (as determined by the
TC
field or
Time Correct
window)
plus
the original time position of the event (e.g., an event that is originally three ticks past a time division on the grid will snap only to positions that are three ticks past every time division).
List Edit Settings
:
Auto-Advance
The
Settings
window now has some additional lets you configure certain List Edit Mode settings. (This has been added to
.)
To view the Settings
, tap the
gear icon
. Use the
Auto-Advance on Step Record
selector to turn the feature on or off. When set to
On
, pressing a pad when the track is record-armed will move the audio playhead forward by a length determined by the current
Time Division
setting in the
TC
/
Timing Correct
window. When set to
Off
, pressing a pad when the track is record-armed will not change the audio playhead position. 326
Pitch Quantization
In a MIDI track, you can now force the pitches of note events into a specific scale. This quantization process is available
with other track editing processes. (This has been added to
To edit the track
, tap the
pencil icon
on the right edge of the section. The Track Edit window will open.
To open the Pitch Quantize window
, tap
Pitch Quantize
.
To select the desired root note of the scale
, use the
Root Note
field.
To select a type of scale
, use the
Scale
field.
To determine which note events will be quantized
, tap the
Only apply to selected events
checkbox. When
on
, only the currently selected note events will be quantized. When
off
,
all
pitches in the current track will be quantized.
To set lowest-possible and highest-possible pitches where the quantized note events will be placed
, use the
Start Note
and
End Note
fields (respectively). If a note event is originally outside of this range, it will be forced to the nearest pitch (within the scale) inside the range.
To continue and quantize the note events
, tap
Do It
.
To cancel
, tap
Close
. 327
Step Sequencer
:
Velocity Adjustment via Q-Links
While using the Step Sequencer, you can now use the Q-Link knobs to adjust the velocity of the note event at each step (the Q-Link knobs must be in the
Screen
edit mode). On MPC X, the number of each step will be shown under the corresponding Q-Link knob. (This has been added to
).
To adjust the velocity of each note event
, use the corresponding
Q-Link knob
to select a value (
1
–
127
).
To enter a note event at a step
, use the corresponding
Q-Link knob
to change its velocity from
0
(
Off
) to a value of
1
or greater.
To delete a note event from a step
, set the corresponding
Q-Link knob
to its minimum position,
0
(
Off
).
Pad Perform Mode
:
User Progressions
You can now use your own progressions (created in the desktop version of the MPC software) on your MPC X or MPC Live.
To transfer progressions to your MPC X or MPC Live
: 1.
Connect the storage device that you will use with your MPC X or MPC Live (e.g., the internal drive, an SD card, a USB drive) to your computer. 2.
On your computer, access the storage device and create a folder named
Progressions
on its root level. 3.
Copy your progression files (
.progression
) from your computer to that
Progressions
folder. By default, progressions are saved here:
Windows
:
C
:\
Program Files
\
Akai Pro
\
MPC
\
Progressions
and/or
C
:\
ProgramData
\
Akai
\
MPC
\
Progressions macOS
:
~
/
Library
/
Application Support
/
Akai
/
MPC
/
Progressions
4.
Eject and disconnect the storage device from your computer, and connect it to your MPC X or MPC Live.
To use your progressions
, start your MPC X or MPC Live in Standalone Mode, enter
Pad Perform Mode
, and tap
Progressions
. Your MPC X or MPC Live will scan the
Progressions
folder you created and add them to the list of available progressions.
Faster Attack for Amp Envelopes
In the amp envelope of a drum program or keygroup program, an attack value of
0
now produces a much faster response, thus making your drum hits even punchier than before. (You can set the attack value in Program Edit Mode. See
to learn more.)
Important
: Any drum or keygroup programs that you created and saved before this update will load in MPC 2.1 with an attack value of
1
to ensure backwards compatibility. 328
Updates in MPC 2.2
New Features MIDI Control Mode
:
MIDI Learn
You can now use the MIDI Learn function to assign external MIDI controllers to various parameters in your specific MPC project: • Mixer parameters such as volume, pan, mute, and solo for MIDI or audio tracks, programs, returns, submixes, and master outputs • Pad parameters (for drum programs and clip programs only) such as tuning, filter and amp envelopes, layer settings, LFO settings, and velocity • • Program parameters, which depend on the program type Insert effects parameters, which depend on the effect type These assignments will be saved with your MPC project.
Tip
: Because these MIDI assignments are saved within a project, you can use them while working with a project on both the desktop version of the MPC software
or
on your MPC hardware in Standalone Mode. You can also include them with a user template.
To display the MIDI Learn window
, press
Menu
, tap
MIDI Control
to enter MIDI Control Mode, and then tap the
MIDI Learn
tab. Each assignment has the following settings:
Source
: This is the name or number of the track, program, return, submix, or master output.
Target
: This is the name of the assigned command or parameter.
Type
: This is the type of message: •
Toggle Button
: When the control is a button, pressing it will activate or deactivate its command or parameter. It will remain in that state until you press it again. •
Momentary Button
: When the control is a button, pressing and holding it down will activate its command or parameter. Releasing the button will deactivate it. • • •
Fixed Button Note
: When the control is a button, pressing it will send the MIDI note (determined by the
Abs CC
: When the control is a button, pressing it will send its command.
Data
field). : When the control is a knob, turning it will send its CC message (determined by the
Data
field) according to the precise physical position of the knob. (When you start turning it, the value may “jump” from its current value to the one corresponding to the knob’s position.) This is for use with knobs that have a maximum and minimum position. •
Rel CC Offset
: When the control is a knob, turning it will send the CC message (determined by the
Data
field), starting from the current value. This is for use with 360° knobs controlling parameters that have a maximum and minimum position. •
Rel CC 2’s Complement
: When the control is a knob, turning it will send the CC message (determined by the
Data
field), starting from the current value. This is for use with 360° knobs controlling bipolar parameters where there is a center (12:00) position (e.g., panning). This is automatically detected based on the
Source
and
Target
fields, though you can use this field to assign it manually if it does not detect it properly. 329
Ch
: This is the MIDI channel the control is using.
Data
: This is the MIDI note number or CC number.
Flip
: Tap this box to select or deselect it. When selected, the control’s polarity will be reversed (e.g., a button’s “off” state will become its “on” state and vice versa).
To assign a parameter to a hardware control
: 1.
2.
Tap Tap
Learn +
in the upper-left corner so it is
on
. (The
Enable Mapping
button will also activate if it is not already on.) in the lower-left corner to create an “empty” assignment (its Target menus will be set to
None
and
Off
). Alternatively, tap an assignment that is already in the list if you want to change it. 3.
Move or press the desired control on your MIDI controller. The
Type
,
Ch
, and
Data
fields will be automatically assigned. 4.
Use the
Source
field to select a MIDI or audio track, program, return, submix, or master output (for drum programs and clip programs, you can select the entire program or a single pad within it). The
Target
menu will indicate the source you selected. 5.
Use the
Target
menu to select the parameter. Your selection will be shown under
Target
in the list, as well. The control on your MIDI controller will now control the Target parameter.
To assign more controls
, repeat
Steps 2
–
5
.
To stop assigning controls
, tap
Learn
again so it turns
off
.
To clear an assignment
, follow the steps above to reassign its
Source
field to
None
and assign its
Target
field to
Off
.
To delete an assignment
(the entire slot), tap it in the list, and then tap the
trash-can icon
in the lower-right corner.
To delete all assignments
, press and hold
Shift
, and then tap the
trash-can icon
in the lower-right corner. In the window that appears, tap
Remove All
to continue or tap
Cancel
to not delete any assignments.
Humanize
You can now apply randomization to the timing, length, and/or velocity of MIDI events. This process is available with
other track editing processes. (This has been added to
To edit the track
, tap the
pencil icon
on the right edge of the section. The Track Edit window will open.
To open the Humanize window
, tap
Humanize
. 330
The
Humanize
function applies randomization to the timing, length, and/or velocity of MIDI note events.
To select whether or not humanization will be applied to the timing of MIDI events
, tap the
Humanize Time
checkbox.
To select the maximum number of pulses by which the timing of an event will be adjusted
, use the
Amount
(
Pulses
) slider.
To set how dramatically the humanization effect is applied to the timing
, use the
Eagerness
slider. Negative values correspond to playing “ahead of the beat” while positive values correspond to playing “behind the beat.”
To set whether or not humanization will be applied to the duration of MIDI note events
, tap the
Humanize Note Length
checkbox.
To set how dramatically the humanization effect is applied to note lengths
, use the
Length
(
%
) slider.
To set whether or not humanization will be applied to the velocities of MIDI note events
, tap the
Humanize Velocity
checkbox.
To set how dramatically the humanization effect is applied to note velocities
, use the
Strength
(
%
) slider.
To determine which notes will use these humanization values
, tap the
Only Apply to Selected Events
checkbox. When
on
, just the currently selected notes will be humanized. When
off
, all notes in the track will be humanized.
To apply humanization and keep this window open
, tap
Apply
.
To apply humanization and close the window
, tap
Do It
.
To close the window without making any changes
, tap
Close
. 331
Generate Random Events
You now create random melodic or drum patterns on the current MIDI track. This process is available with other track editing processes. (This has been added to
To edit the track
, tap the
pencil icon
on the right edge of the section. The Track Edit window will open.
To open the Generate Random Events window
, tap
Generate Random Events
. The
Generate Random Events
function creates random melodic or drum patterns on the current MIDI track.
To select the type of events you want to create
, use the
Event Type
field to select
Drum Events
or
Melodic Events
.
To select how the events will be created relative to the existing events on the track
, use the
Replace
field:
Replace All Events
: Select this option to replace all events on the track with the randomly generated ones.
Replace Events in Note Range
: Select this option to replace all events in the designated note range on the track with the randomly generated ones. Use the
Bank
or
Start Pad
and
End Pad
menus to set the note range for drum events or the
Start Note
and
End Note
menus to set the note range for melodic events.
Add to Existing Events
: Select this option to add the randomly generated events to the track without replacing or overwriting the existing ones.
To set how many bars the events will use
, use the
Pattern Size
(
Bars
) field. The highest possible value is the number of bars in the current sequence.
To select the duration of the events
, use the
Note Length
field. (This feature is nonfunctional if
Legato
is enabled while generating melodic events.)
To generate the events and keep this window open
, tap
Apply
.
To generate the events and close the window
, tap
Do It
.
To close the window without generating any events
, tap
Close
. 332
If
Event Type
is set to
Drum Events
:
To select the pad bank that will be used to generate the events
, use the
Bank
field or select
Range
to use the
Start Pad
and
End Pad
menus to define a specific pad range instead.
To define a specific pad range over which the events will be generated
, use the
Start Pad
or
End Pad
fields. You can use these fields only if the
Bank
menu is set to
Range
.
To set how closely together the events will be placed in the track
, use the
Density
(
%
) slider.
To set how widely or narrowly the rhythmic patterns of the generated notes vary
, use the
Rhythm Variation
slider. If
Event Type
is set to
Melodic Events
:
To define a specific note range over which the events will be generated
, use the
Start Note
or
End Note
fields.
To enable or disable legato
, tap the
Legato
checkbox. Without legato applied. With legato applied. When
on
, the generated notes will be extended or shortened to create a long, unbroken phrase from the first note event’s start point to the last note event’s end point. Each note event will sustain until another note event starts. If multiple note events start at the same time (and are not the last note events), their lengths will become identical. When
off
, the generated notes will use the duration set by the
Note Length
menu. 333
To set the maximum number of note events that can be sounding simultaneously in the track
, use the
Polyphony
field to select
1
–
8
.
To determine whether or not the notes will use a scale
, tap the
Constrain Notes to Scale
checkbox. When
on
, the notes will be within the scale determined by the
Scale
menu. When
off
, the notes will be chromatic.
To set how closely together the events will be placed in the track
, use the
Density
(
%
) slider.
To set the root note of the scale that the notes will use
, use the
Root Note
field.
To select the scale or mode that the generated notes will use
, use the
Scale
field.
Project Template
You can now select a project file to use as a template for new projects. (This has been added to
.)
To select a project template file
, do either of the following: 1.
2.
3.
4.
Tap the icon in the upper-left corner to enter the
Menu
. Tap the
gear icon
to enter the
Preferences
. Tap
Project Load
/
Save
. Tap the
magnifying-glass icon
next to the
Template File
field to select the project you want to use as a template. 1.
2.
3.
4.
5.
In Main Mode, tap the
Project
field in the upper-left corner. Tap
Save As
… at the bottom of the screen. Tap the
Save as Template
checkbox to check it. Name and select a location for the project, as usual. Tap
Save
. (The file will now be shown in the
Template File
field in the Preferences’
Project Load
/
Save
tab.)
To load the project template from the startup screen
(when you power on your MPC hardware), tap
User Template
at the bottom of the screen. In order for this option to be available,
New Project Dialog
(in the
Project Defaults
tab) in the
Preferences
must be set to
Demo
or
Demo
/
Template
/
Recent
. 334
Updates in MPC 2.3
New Features Arpeggiator
MPC now includes a full-featured arpeggiator and phrase player for melodic program types.
To open the Arpeggiator settings:
1.
2.
Set the current track type to
Plugin
,
Keygroup
,
MIDI
, or
To activate the Arpeggiator,
tap
Enable
so it is checked. Tap again to
Disable
the Arpeggiator.
CV
. Open the Arpeggiator window by doing either of the following: • • Press and hold the
Note Repeat
Alternatively, press the button, then tap
Arpeggiator F-Key Arp
(MPC X). at the bottom-right of the screen.
To latch the Arpeggiator
, tap
Latch
so it is checked. Tap again to
Disable
Latch. The
Setup
section of the Arpeggiator window sets what kind of arpeggiator will be used and its functions: Use the
Action Repeat
,
Rhythm
and
Pattern
. See
for more details about these types and their additional parameters. field to set the type:
Arp
,
Note
Use the
Step Size
field to set the note value of each arpeggiator step from
1/1
–
1/64
beats, including
T
(triplet) variations. This field is not used in Pattern mode. Use the
Note Length
slider to set the length of the played note in each step, from
1
–
100%
. Use the
Velocity
field to set the velocity of the arpeggiator notes. Choose
As played
,
From first note
,
Accented
,
Full
,
3/4
,
Half
or
1/4
. Use the
Swing
field to set the amount of swing in the arpeggiator from
50%
to
75%
. Swing lets you "shuffle" your beats—from subtle to extreme. The
Arp mode
section of the Arpeggiator window is available when the
Action
is set to
Arp
. When this action is selected, hold down a chord and the arpeggiator will play a pattern based on the notes held. Use the
Pattern
field to set how the arpeggiator triggers the held notes. Use the
Octaves
field to set how many octaves of the held notes the arpeggiator will cycle through. Use the
Variation
field to apply rhythmic variation to the set pattern. 335
The
Rhythm
section of the Arpeggiator window is available when
Action
is set to
Note Repeat
or
Rhythm
. The Note Repeat action provides traditional MPC Note Repeat behavior. When the Rhythm arpeggiator action is selected, hold down a chord and the arpeggiator will play the held notes in a rhythmic pattern. Use the
Spread
field to spread the timing of the held notes, creating a glissando effect. Use the
Rhythm Pattern
field to choose the pattern played when notes are held. This is only available for the
Rhythm
action. The
Pattern
section of the Arpeggiator window is available when the
Action
is set to
Pattern
. When this arpeggiator action is selected, hold down a single note to trigger a melodic phrase. As you change what note is held, the melodic phrase will be transposed. Use the
Pattern
field to choose the pattern. The
Settings
section of the Arpeggiator window offers additional options to control the arpeggiator. If you have a sustain pedal connected, you can enable
Sustain Pedal Latches
to use it to control latching. Use the
Latch Mode
setting to set the latch behavior. When set to
Reset
, adding a new note(s) will reset the currently latched note(s). When set to
Add
, new notes will be added to currently latched notes. Tap
Close
to close the Arpeggiator window. 336
Auto Sampler
You can now capture and convert any plugin preset or external instrument preset into a Keygroup sampler patch.
To open the Auto Sampler
: 1.
2.
Open the Sampler mode by doing either of the following: • • Press Press
Menu
and then tap
Sampler
(MPC X).
Sampler
. Press the
Auto Sampler
icon in the toolbar.
Sample Source Information
The
Track name
and
Program name
fields show the target track and program that will be sampled. This will be automatically selected as the active track and program when Auto Sampler is opened. Use the
Record from
field to select an external or resample input to record from:
To capture the output of a plugin,
simply select a Plugin track before opening Auto Sampler.
Note:
When a plugin track is selected, the Auto Sampler will only sample the plugin track, regardless of the setting in the
Record From
field.
To capture a preset from an external instrument such as a sound module,
select the
Input
that the external instrument is connected to.
Note Range
Use the
Min note
and
Max note
settings to determine the lowest and highest notes used to create the sampler patch. Use the
Note stride
to determine the range of notes that each sample will cover. For instance, a note stride of
5
means that every 5 notes will utilize a different sample. Check the
Extend min/max notes
box to sample all the way to the lowest and highest notes, regardless of the
Min Note
and
Max Note
settings.
Velocity
Tap the boxes next to
Layers 1
–
4
to select how many layers will be used to create the sampler patch. Use the
Velocity
value sliders to set the velocity of each layer. 337
Sampling
Use the
Note length
slider to set the length of the sampled note in seconds. Use
Tail
slider to set the length of the Audio Tail in seconds. This will add extra seconds to the end of the resulting audio file. This is useful if you are capturing samples whose sounds exceed the defined audio length (e.g., long reverb or delay, one-shot samples with long decays, etc.). We recommend using an audio tail of at least a couple of seconds. Use
Base name
to set the naming convention for the samples that will be created by the Auto Sampler.
Looping
Use the
Enable looping
field to select how the resulting samples can or cannot be looped: • •
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 start
and
Loop end
sliders to set the starting and ending points in the sample where the loop will occur. Use the
Crossfade
field to set the amount of crossfade between the loop end and loop start in seconds. Use the
Crossfade Type
field to select
Equal Power
or
Linear
crossfade. Under
On completion
, check
Make current program
to load the completed sampler patch as the current program. Under
Info
, the
Session Duration
field provides an estimate of how long the auto sampling process will take. Tap
OK
to initiate the auto sampling process. A Progress window will appear. Click
Cancel
to stop the auto sampling process. Any samples already created will be retained. Tap
Cancel
continuing. to close the Auto Sampler window without 338
Crossfade Looping
You can now add real time crossfade looping to sample playback. 2.
3.
4.
5.
To apply crossfade looping to a sample:
1.
Open Sample Edit mode by doing either of the following: • • Press Press
Menu
, and then tap
Sample Edit Sample Edit
(MPC X). . Make sure the loop
Lock
setting is set to
Off
. Tap the Make sure there is at least 10 samples of space between the Tap the
Loop
button to select the
X-Fade Forward
(
FWD
) loop mode. button to open the X-Fade window:
Start
point and
Loop
point.
To set the length of the crossfade in samples,
use the
Length
field.
To set the type of crossfade,
use the
Type
field. Select
Equal Power
or
Linear
.
To close the window and return to Trim Mode
, tap the
X
or tap
Close
. When you are finished, press
Pad A16 – Play Continuous Loop
in Sample Edit Trim Mode to hear the crossfade applied to the sample. 339
Mode Selection Shortcut
You can now press and hold the
Menu
button on your MPC X, MPC Live or MPC Touch and press a pad to select a menu mode. The pads follow the 4x4 layout of the Mode Menu.
Pad Perform Mode: Chromatic Type
You can now use Pad Perform Mode to set the pads to follow a chromatic layout. When the
Chromatic
type is selected, each pad is assigned a note, ascending by one semitone with each pad. Pads with notes in the key determined by the
Scale
will be lit, while pads with notes between the scale degrees will be unlit.
Q-Link Navigation Enhancements
Q-Link functionality has been enhanced in the following modes: Main Mode, Track View, Next Sequence, Grid Editor, and Audio Edit Mode. Set the
Q-Link Mode
to
Screen
in these pages to access the following controls: Use
Q-Link Knob 2
to adjust the playhead position. Use
Q-Link Knob 3
to scroll through the waveform in the large waveform display. Use
Q-Link Knob 4
to zoom in or zoom out at the playhead position.
Note:
For MPC Live and MPC X in standalone mode, the
Zoom
and
Scroll
Q-Links are only available in the Grid Editor and Audio Edit Mode. 340
Split Events
You can now easily split note events, useful for creating intricate hi-hat parts or quintuplet/sextuplet motifs or drum beats. (This has been added to
.)
To edit the track,
tap the
pencil icon
on the right edge of the Main Mode screen. The Track Edit window wlll open.
To open the Split Events window
, tap
Split Events. To set how many events notes will be divided into
, use the
Into
slider.
To determine which notes will be divided,
tap the
Only selected events
checkbox.
To split the events and close the window,
tap
Do It
.
To close the window without making any changes,
tap
Close
. 341
AIR Instrument Plugins
MPC now includes three new plugin instruments: AIR TubeSynth, AIR Bassline, and AIR Electric.
AIR Bassline
The AIR Bassline plugin emulates the sound of classic mono synths, with a contemporary twist. Bassline also comes packaged with four integrated AIR effects (Chorus, Delay, Compressor and Hype), as well as two built-in distortion algorithms (Overdrive and Clip).
Osc/Filter/Envelope
Use this tab to adjust the settings for the oscillators, as well as their filter and envelope settings.
Parameter Description Value Range
Oscillator Waveform Continuously variable waveshape for the oscillator.
Saw Octave, Saw, Square, Sine 0–100% Start Phase Position of the waveform when a note is triggered.
0–100% Free, 0 degr., 180 degr. 10.0 ms – 2.00 s Glide note played. Boost Envelope Boosts the signal of the oscillator.
0.0 – 48.0 dB * 1.0 – * 240.0
Adjust
Gain
to control the amount of boost. Adjust
Frequency
to control the center frequency of the boost. Gain 0–100%, Off, Frequency 0–100% Filter LP Cutoff Reso Cutoff frequency for the low-pass filter.
Resonance of the filter.
20.0 Hz – 20.0 kHz 0–100% -100% – 0 – +100% Envelope HP Cutoff At negative values, decreases the cutoff value based on the decay value. At positive values, increases the cutoff value based on the decay value. Cutoff frequency for the high-pass filter.
Amp Attack Length of time for the note to reach full volume.
Amp Decay Length of time for the note to reach the sustained volume. Filter Decay Length of time for the filter to reset after being released. 10.0 – 500 Hz 0–100 Soft, 0–100% Hard 0–100% 0–100% 0–100% 342
Velocity/Master/Chorus
Use this tab to adjust the Velocity Control settings, Master volume. You can also apply and adjust the settings for the built-in Chorus effect.
Parameter Description
Velocity Master Amp Control Filter Control Boost Control Master Volume Drive Type Bend Range Chorus Rate Depth Mix On/Off The amount of effect velocity has on amplitude control. The amount of effect velocity has on filter control. The amount of effect velocity has on boost control. Sets whether the envelope will retrigger when a note is played while another note is being held. Off, On Sets the volume level.
Choose one of two drive algorithms. Number of semitones up or down controlled by MIDI pitch bend messages. Modulation of the chorus effect.
Modulation depth of the chorus effect.
Wet/dry amount of the chorus effect.
Enables or disables the effect.
Value Range
0–100% 0–100% 0–100% -Inf dB – +6.0 dB Overdrive, Clip 0–100% 0–12 20.0 Hz – 20.0 kHz 0–100% -100% – 0 – 100% Off, On
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter Description
Time Sync Mix Feedback Damp Reso Reso Freq Ratio HPF Width Length of time of the delayed signal.
Sync the Delay
Time
to the
Global Tempo
or set to
Free
to adjust
Time
by milliseconds. Free, Sync Wet/dry amount of the delay effect.
Amount of signal fed back into the delay line.
When
Sync
is set to
Free:
1 ms – 2.00 s When
Sync
is set to
Sync:
1/32 – 8/4 Center frequency of where the delay signal will be dampened.
Amount of resonance of the feedback signal.
Center frequency for feedback resonance.
Reduces the delay
Time
in either the
Left
or
Right
stereo field. This is useful for creating offset, panned delays. Center frequency for delay signal high-pass filter.
Stereo width of delay signal. Higher values give wider stereo separation.
Value Range
0–100% 0–100% 1.00 – 20.0 kHz 0–100% 100 Hz – 10.0 kHz L 50:100, R 50:100 20.0 Hz – 1.0 kHz 0–100% Off, On 343
Compressor/Hype
Use this tab to apply and adjust the settings for the built-in Compressor and Hype effects.
Parameter Description
Compressor Threshold
Value Range
Signal level after which the compressor will be applied. 0.0 – -60. dB 1.0:1 – 100.0:1 Output signal. Mix Knee Wet/dry mix of the compressor effect.
How gradually the compressor reacts as the threshold is reached. Lower values apply a "soft" knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a "hard" knee (compression is immediately applied when the threshold is reached). 0.0 – 30.0 dB 0–100% 0–100% Attack Release Length of time to apply the compression.
Length of time for compressed signal to return to original level. Enables or disables the effect.
100 us – 300 ms 10 ms – 4.00 s On/Off Hype High Low On/Off Dampens or maximizes low end frequencies.
Enables or disables the effect.
Off, On -100 – 0 – +100% -100 – 0 – +100% Off, On 344
AIR Electric
The AIR Electric plugin emulates the sound of classic electric pianos. Dedicated Pickup, Envelope, Bell and Noise parameter sections provide a huge amount of flexibility to configure the timbre of the electric piano sound. Electric also includes five AIR effects: Tremolo, Tube Distortion, Chorus, Delay and Spring Reverb. While viewing any of the tabs listed below, you can quickly enable or disable the
Bell
and
Noise
sounds, as well as the built-in effects (
Tremolo
,
Tube
,
Chorus
,
Delay
and
Spring Reverb
). When viewing a specific tab, you can enable or disable the sound or effect by pressing the circle in the upper right corner of each section.
Pickup/Env
Use this tab to edit the settings for the emulated pickup and the sound envelope.
Parameter Description Value Range
Pickup Envelope Type Height Distance Attack Type of pickup emulated.
Height of the pickup to the tines.
Distance of the pickup to the tines.
Clip Amount of clipping applied to the signal.
Keytrack Ties the pickup parameters to the pitch being played. At higher values, the
Distance
is increased as the pitch is increased. 0–100% 0–100% Length of time for the note to reach full volume.
Decay Release Length of time for the note to reach the sustained volume. Length of time for the note to become silent after being released. Length of time full volume is held before decaying. Peak Length Keytrack envelope played. At higher values, the envelope time is decreased as the pitch is increased. Pickup, 0–100% Electro-Static, 0–100% Electro Magnetic 0.0 – 5.0 mm 0.1 – 10.0 mm 100–0% Hard, 0–100% Soft 100 ms – 20.0 s 100 ms – 5.0 s 3–50 ms 0–100% 345
Bell/Noise
Use this tab to apply and adjust the settings for the Bell and Noise sounds.
Parameter Description
Bell Tune Dry/PU Volume Tune Keytrack Decay Pitch of the bell sound, in semitones above the root pitch. Mix of Dry versus Pickup signal for the bell sound. Level of the bell sound.
Ties the tuning of the bell sound to the pitch being played. How long it takes for the bell sound to dissipate. Noise Keytrack Freq Mix Attack Decay Level of noise effect present.
Length of time for the noise effect to reach full level. Length of time for the noise effect to dissipate.
Keytrack
Freq
to the pitch being played.
Value Range
0– 60 semitones -100% – 0% – +100% -Inf dB – 0.0 – +6.0 dB 0–100% 100 ms – 7.0 s Ties the amount of bell sound to the pitch being played. At negative values, the bell sound is increased as the pitch increases. At positive values, the bell sound is increased as the pitch decreases. -100% – 0% – +100% Center frequency of the noise effect.
200 Hz – 16.0 kHz 0–100% -Inf dB – 0.0 – +6.0 dB 1–50 ms 100 ms – 3.00 s 0–100%
Setup
Use this tab to adjust general settings for the plugin.
Parameter Description
Polyphony Master Volume Velo Level Velo Tone Velo Attack Number of voices available.
Overall level of the plugin.
Adjusts how much incoming velocity is applied.
Ties the incoming velocity to tone.
At higher values, increased velocity increases tone brightness. Ties the incoming velocity to the attack envelope. At higher values, lower velocities feature longer attack times.
Value Range
1–16 Voices -Inf dB – 0.0 – +6.0 dB 0–100% 0–100% 0–100% 346
Trem/Tube/Chorus
Use this tab to apply and adjust the settings for the built-in Tremolo, Tube (Overdrive), and Chorus effects.
Parameter Description
Tremolo Rate Modulation speed of the effect.
Value Range
When
Sync
is set to
Sync:
Sync Sync the Tremolo
Rate
to the
Global Tempo
or let it run
Free
. 8/4 – 1/16 Free, Sync Mode
Pan
for stereo field modulation, or
Tremolo
for amplitude modulation. Pan, Tremolo 0–100% Tube Drive Amount of drive applied.
When
Sync
is set to
Free:
0.25 – 13.00 Hz 0–100% -30.0 – 0.0 dB and the driven signal. Output Chorus Rate Mix Output level of the tube driven signal.
Modulation of the effect.
Wet/dry amount of the chorus effect.
0–100% -20.0 – 0.0 – +20.0 dB 0.40 – 3.20 Hz 0–100% 0–100%
Delay
Use this tab to apply and adjust the settings for the built-in Delay effect.
Parameter Description
Time Sync Mix Feedback Damp Reso Reso Freq Ratio HPF Width Amount of time between the dry signal and the delayed signal.
When
Sync
is set to
Free:
1 ms – 2.00 s When
Sync
is set to
Sync:
1/32 – 8/4 Sync the Delay
Time
to the
Global Tempo
or set to
Free
to adjust
Time
by milliseconds. Free, Sync Wet/dry amount of the delay effect.
Amount of signal fed back into the delay line.
Center frequency of where the delay signal will be dampened.
Amount of resonance of the feedback signal.
Center frequency for feedback resonance.
Reduces the delay
Time
in either the
Left
or
Right
stereo field. This is useful for creating offset, panned delays. Center frequency for delay signal high-pass filter.
Stereo width of delay signal. Higher values give wider stereo separation.
Value Range
0–100% 0–100% 1.00–20.0 kHz 0–100% 100 Hz – 10.0 kHz L 50:100, R 50:100 20.0 Hz – 1.0 kHz 0–100% 347
Spring Reverb
Use this tab to apply and adjust the settings for the built-in Spring Reverb effect.
Parameter Description
Pre-Delay Length of time between dry signal and reverberated signal.
Time Mix Diffusion Length of reverb tail. Wet/dry amount of the reverb effect.
Width Low Cut
Value Range
0–250 ms 1.0 – 10.0 s 0–100% Rate of increasing density of reverb reflections. At lower settings, the sound of individual reflections is more present. At higher settings, reflections are more uniform. 0–100% Stereo width of reverb signal. Higher values give wider stereo separation. 0–100% Center frequency for reverb signal low-cut filter.
20.0 Hz – 1.00 kHz 348
AIR TubeSynth
The AIR TubeSynth plugin emulates the sound of classic vintage analog polysynths. TubeSynth is based on the highly acclaimed AIR Vacuum Pro desktop synth plugin and also includes 5 integrated AIR effects.
Oscillator
Use this tab to adjust the settings for the two variable Oscillators and the Sub Oscillator.
Parameter Description Value Range
Oscillator 1 Oscillator 2 Fine When
Octave
is set to
Wide
: -70.00 – 0.00 – +70.00
Shape When
Octave
is set to
32'
–
2'
: -12.00 – 0.00 – +12.00
Waveshape of Oscillator 1 (continuously variable). Triangle, Saw, Square, Pulse F-Env Quad Shape Amount of Filter Envelope output subtracted from or added to the value defined by the Osc 1
Shape
parameter. Enables or disables four-voice emulation for the oscillator. -100 – 0 – +100% Off, On Detune
Quad
voices. 0–100% Octave Octave Fine Coarse tuning of the oscillator by octaves.
The
Wide
setting provides additional
Fine
tuning controls. Fine tuning of the oscillator by semitones.
Wide, 32', 16', 8', 4', 2' Coarse tuning of the oscillator by octaves all the way down to LFO speed. Fine tuning of the oscillator.
LFO, 32', 16', 8', 4', 2' When
Octave
is set to
LFO
: 0.01 – 20.00 Hz Shape F-Env Sync Phase Shape When
Octave
is set to
32'
–
2'
: -12.00 – 0.00 – +12.00 semitones Waveshape of Oscillator 2 (continuously variable). Noise, Saw, Square, Pulse Amount of Filter Envelope output subtracted from or added to the value defined by the Osc 2
Shape
parameter. -100 – 0 – +100% Enables or disables syncing of Oscillator 2 to Oscillator 1. Off, On 0–100% Position of the waveshape when the sound is triggered. 0–360 degrees Sub Oscillator Shape Waveshape of the sub oscillator (continuously variable). Triangle, Saw, Square, Pulse 349
Mixer / Filter
Use this tab to control EQ for Oscillator 2, set the levels of the oscillators and effects, and edit the low-pass filter.
Parameter Description
Osc 2 EQ Gain Frequency Amount of gain applied to the selected
Frequency
Center frequency for the equalization band.
. Mixer LP Filter Keytrack Osc 1 Osc 2 Sub Osc Ring Mod Drive Cutoff Saturation Env Keytrack
Value Range
-48 – 0 – +48 dB Ties the EQ settings to the pitch being played Level of Oscillator 1.
Level of Oscillator 2.
Level of the Sub Oscillator.
Level of Ring Modulation effect.
Level of Drive effect.
Center frequency of the low-pass filter cutoff.
25–10,000 Hz 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–100% 0–24 dB/oct frequency. Amount of saturation applied to the low-pass filter. Ties the LP Filter Cutoff to the pitch being played. 0–100% Percentage of the envelope output subtracted from or added to the LP Filter
Cutoff
. -100 – 0 – +100% 0–100% 350
Envelope
Use this tab to adjust the various envelope settings.
Parameter Description
Filter Envelope Attack Decay Sustain Release Length of time for the filter to reach full level.
Length of time for the filter to reach sustain level. Length of time for the filter to hold sustain level.
Value Range
1.00 ms – 100 s 1.00 ms – 100 s 0–100% Length of time for the filter to dissipate when released. 1.00 ms – 100 s Amp Envelope Attack Decay Sustain Release Envelope 3 Start Level Start Time Slope Hold Slope Rel Destination Length of time for the note to reach full level.
Length of time for the note to reach sustain level. Initial velocity level of the envelope.
Length of time for the envelope to start.
Percentage of Envelope subtracted from or added to the
Destination
when a note is held. Percentage of Envelope subtracted from or added to the
Destination
when a note is released. Where the envelope will be applied to.
1.00 ms – 100 s 1.00 ms – 100 s Length of time for the note to hold sustain level.
0–100% Length of time for the note to dissipate when released. 1.00 ms – 100 s 0–100% 0–5000 ms -100 – 0 – +100% -100 – 0 – +100% Off, Pitch, Osc 2 Pitch, LFO 1/2 Rate, Osc1 Quad Det., Osc 1/2 Shape, Osc 1/2 Level, Ring Level 351
LFO
Use this tab to adjust the settings for the low-frequency oscillators.
Parameter Description
LFO 1/LFO 2 Shape Destination Waveshape of the low-frequency oscillator.
Where the low-frequency oscillator is sent.
Value Range
Sine, Square. Saw Up, Saw Down, Pump, S&H, Drift
LFO1:
Off, Pitch, Filter, Level, Pan Rate Speed of modulation.
LFO2:
Pitch, Osc 1/2 Shape, Osc 1/2 Pitch, LPF, Quad Detune, Osc EQ Freq, Osc 2 EQ Gain, Ring Level When
Sync
is
Off
: 0.01 – 20.00 Hz Destination When
Sync
is
On
: 8/4 – 1/32 0–100% Sync
Rate
to the
Global Tempo
or turn
Off
to adjust
Rate
by Hertz. Off, On Modulation Source Where the modulation signal is sent from.
0.00 – 20.00 s out, No fade, 0.00 – 20.00 s in Filter Env, Amp Env, Osc 1, Osc 2 Where the modulated signal is received.
Pitch, Osc 1/2 Shape, Osc 1/2 Pitch, LPF, Quad Detune, Osc EQ Freq, Osc 2 EQ Gain, Ring Level 0–100% 352
Setup
Use this tab to adjust plugin setup parameters.
Parameter Description
Controller Destinations Velocity 1 Velocity 2 Modwheel Aftertouch Send Velocity data to one of the following control destinations. Send Velocity data to one of the following control destinations. Send Modwheel data to one of the following control destinations. Send Aftertouch data to one of the following control destinations. Setup Polyphony Bend Range Number of allowable voices, and how voices are triggered. Number of semitones up or down controlled by MIDI pitch bend messages. Glide to the next note played. Glide All Enables or disables pitch gliding for all triggered notes, not just legato notes.
Value Range
Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape 0–100% Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape 0–100% Amp, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape -100 – 0 – 100% LFO 1 Depth, Cutoff, Osc1 Shape, Osc2 Shape, Osc1&2 Shape -100 – 0 – 100% Legato, Retrigger, 2, 3, 4 0–12 (semitones) 1.00 ms – 100 s Off, On 0–100% Doubling applied when
Doubling
is enabled. Enables or disables voice doubling.
Output Shape Amount of signal sent to a Tube Drive.
Width Stereo width of the audio signal. Higher values give wider stereo separation. Level Overall output volume of the plugin.
Off, On 0–100% 0–100% -Inf dB – +12.0 dB 353
Chorus
Use this tab to apply and adjust the settings for the built-in Chorus effect.
Parameter Description
Delay Voices LFO Wave Depth Width Lo Cut Mix Length of time the wet signal is offset from the dry signal.
Number of voices used in the chorus effect.
Waveshape of the low-frequency oscillator for the chorus effect.
Amount of pitch modulation of the effect.
Stereo width of the chorus effect. Higher values give wider stereo separation. Center frequency for the chorus low-cut filter.
Wet/dry amount of the chorus effect.
Value Range
0.01 – 10.0 Hz 0.00 – 24.00 ms 3, 4, 6 Tri, Sine 0.00 – 24.00 ms 0–100% 20.0 Hz – 1.0 kHz 0–100%
Delay
Use this tab to apply and adjust the settings for the built-in delay effect.
Parameter Description
Time Sync Feedback Mix Damp Reso Reso Freq Ratio HPF Width Length of time between the dry signal and the delayed signal.
Enable to sync the Delay
Time
in milliseconds.
Time
to the
Global Tempo
Amount of delay signal fed back into the delay line.
Wet/dry amount of the delay effect.
Center frequency of where the delayed signal will be dampened.
Amount of resonance of the feedback signal.
Center frequency for feedback resonance.
Reduces the delay
Time
in either the
Left
or
Right
stereo field. This is useful for creating offset, panned delays. , disable to set the Center frequency for delay signal high-pass filter.
Stereo width of delay signal. Higher values give wider stereo separation.
Value Range
When
Sync
is set to
Free:
1 ms – 2.00 s When
Sync
is set to
Sync:
1/32 – 8/4 Off, On 0–100% 0–100% 1.00 – 20.0 kHz 0–100% 100 Hz – 10.0 kHz L 100:50, R 50:100 20.0 Hz – 1.0 kHz 0–100% 354
Reverb / Compressor / Hype
Use this tab to apply and adjust the settings for the built-in Reverb, Compressor and Hype effects.
Parameter Description
Reverb Mode Time Lo Cut Hi Cut Mix Compressor Threshold Mix Knee Attack Release Hype High Low Type of reverb applied.
Length of reverb tail.
Center frequency for the reverb low-pass filter.
Center frequency for the reverb high-pass filter.
Wet/dry mix of the reverb effect.
Signal level after which the compressor will be applied. Length of time to apply the compression.
Length of time for compressed signal to return to original level. 0.0 – -60. dB 0.0 – +30.0 dB signal. Wet/dry mix of the compressor effect.
0–100% 1.0:1 – 100.0:1 How gradually the compressor reacts as the threshold is reached. Lower values apply a "soft" knee (compression is applied more slowly as signal approaches the threshold), and higher values apply a "hard" knee (compression is immediately applied when the threshold is reached). 0–100% 100 us – 300 ms 10 ms – 4.00 s Dampens or maximizes low end frequencies.
Value Range
Hall, Stadium, Room, Abstract 0.4 s – +Inf s 1 – 1000 Hz 1.0 – 20.0 kHz 0–100% -100 – 0 – +100% -100 – 0 – +100% 355
Plugin Preset Support
Internal Akai effects now include all new plugin editors and factory presets.
To load a plugin preset:
1.
2.
Open a plugin instrument or effects plugin editor. At the top of the instrument or effect editing window will be a dropdown menu for selecting presets. Double-tap the menu to open it, and tap a preset to select it. A number of third-party VST plugins will also display a bank of presets when used with MPC. Additionally, you can now save and load plugin presets.
To save or load a plugin preset:
1.
2.
Open a plugin instrument or effects plugin. To the right of the dropdown menu for selecting presets are
Folder
and
Disc
icons. Tap the
Folder
icon to load a plugin preset saved on your MPC or any connected drive. Use the window that opens to select the location where the preset is saved. Tap the
Disc
icon to save your plugin settings as a new preset. Use the window that opens to select where you would like to save the preset. 356
Corrections
We added the following note to the
Input 1/2
description:
Note:
When using the XLR connection, the mic pre-amp is automatically engaged. When using a 1/4" (6.35 mm) TRS cable, the mic pre-amp is bypassed.
We updated the explanation of the Truncate Duration options:
Bar 1 2 3 4 5 6 7 8
For example, if you record a note starting on the second bar of a 4-bar loop and hold it for 5 bars, the note would end: at bar 7 (As Played), at bar 6 (To Sequence Length), or bar 4 (To Sequence End). See image for details.
We added information about using the
Tune
16 Levels type:
As played To Sequence Length To Sequence End
If
Type
is set to
Tune
, use the
Original Pad
field to select which you pad you want to use the original pitch of the sample/samples. Alternatively, hold
Shift
and press the desired pad.
We added the following note for detecting BPM:
Note:
Before detecting tempo, it is recommended that you
Normalize
samples for best results.
We corrected the description for the
Kbd
>
Filter
parameter.
Kbd
>
Filter
(Keyboard Filter) sets how much the note value will be added to the filter cutoff. This allows higher notes to sound brighter.
We added the following descriptions of the
Next
and
Sudden
features in Song Mode:
To switch to the next sequence at the beginning of the next bar during playback
, tap
Next
. 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 next sequence immediately during playback
, tap
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. 357
advertisement
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
Related manuals
advertisement
Table of contents
- 2 Table of Contents
- 6 Introduction
- 6 System Requirements & Product Support
- 6 About This User Guide
- 7 Important Notes
- 7 Setup
- 7 1. Connection
- 8 2. Installation
- 8 3. Getting Started
- 9 Features
- 9 MPC X
- 9 Top Panel
- 9 Navigation & Data Entry Controls
- 10 Pad & Q-Link Controls
- 11 Mode & View Controls
- 12 Transport & Recording Controls
- 13 I/O & Level Controls
- 14 Touchscreen
- 15 Front Panel
- 16 Rear Panel
- 17 MPC Live
- 17 Top Panel
- 19 Touchscreen
- 20 Rear Panel
- 21 MPC Touch
- 21 Top Panel
- 23 Touchscreen
- 24 Rear Panel
- 25 Basic Concepts
- 26 Tutorial
- 26 Starting Up
- 26 Creating a Drum Kit
- 28 Creating a Drum Sequence
- 29 Saving & Renaming
- 31 Editing Note Events
- 33 Making Basic Sound Edits
- 35 Creating a Bass Track
- 38 Recording an Audio Track
- 39 Creating a Song
- 40 Exporting the Song
- 41 Other Features Explained
- 41 Step Sequencer
- 42 Drum Loops & Chop Mode
- 44 Pad Muting & Track Muting
- 46 Sampling (Recording)
- 48 Sample Editing
- 50 Recording Automation with the XY Pad
- 51 Using MPC X or MPC Live as a Controller
- 52 Operation
- 53 General Features
- 53 Control Types
- 53 Knobs
- 53 Parameter Values
- 54 Drop-Down Menus / Lists
- 54 Selectors
- 55 Buttons
- 55 Checkboxes
- 55 Tabs
- 55 Sliders
- 56 Envelopes
- 57 Grid View Tools
- 58 Audio Edit Tools
- 59 Programs
- 59 About Programs
- 60 Drum Programs
- 62 Keygroup Programs
- 63 Clip Programs
- 65 Plugin Programs
- 66 MIDI Programs
- 67 CV Programs
- 68 Menu
- 69 Save
- 70 Preferences
- 70 Info
- 70 Sequencer
- 71 Sync
- 71 Hardware
- 72 Project Defaults
- 73 Auto Load/Save
- 73 General/Other
- 74 Bluetooth
- 75 Wi-Fi
- 75 Legal
- 75 Sync
- 75 Mode
- 76 System Resources
- 77 Time Counter/Locate
- 79 Timing Correct (TC)
- 81 Metronome (Click/Metro)
- 82 Automation
- 82 Global
- 82 Programs & Audio Tracks
- 83 16 Level
- 84 Erase
- 85 Effects
- 85 Overview
- 87 Insert Effects
- 87 Pads
- 89 Keygroups
- 91 Audio Tracks
- 92 Programs
- 94 Submixes
- 95 Masters
- 96 Send/Return Effects
- 97 Pads
- 98 Keygroups
- 99 Audio Tracks
- 99 Programs
- 100 Submixes
- 101 Audio Mixdown
- 102 Battery Usage
- 103 Standalone vs. Controller Mode
- 105 Modes
- 106 Main Mode
- 111 Sequence Section
- 119 Track Section
- 128 Program Section
- 133 Grid View
- 138 Audio Edit Mode
- 146 Track View
- 148 MIDI Tracks
- 149 Audio Tracks
- 150 Step Sequencer
- 154 XYFX Mode
- 157 Sample Edit Mode
- 159 Settings
- 160 Trim Mode
- 164 Assigning Samples
- 166 Processing Slices & Samples
- 171 Chop Mode
- 174 Converting or Assigning Slices
- 177 Processing Slices
- 180 Program Mode
- 183 Assigning Samples
- 184 Processing Slices
- 187 Program Edit Mode
- 187 Drum Programs
- 190 Master
- 191 Samples
- 198 Pan Velocity
- 199 Filter Envelope
- 200 LFO Modulation
- 202 Effects
- 204 Keygroup Programs
- 205 Master
- 208 Samples
- 214 Pan Velocity
- 215 Filter Envelope
- 216 LFO Modulation
- 218 Effects
- 220 Clip Programs
- 222 Program
- 223 Pad
- 226 Plugin Programs
- 227 MIDI Programs
- 228 CV Programs
- 229 Anatomy of an Envelope
- 230 List Edit Mode
- 234 Browser
- 234 Browse
- 236 Sample Assign
- 237 Sampler
- 240 Sample
- 242 Slice
- 243 Pad Tap
- 244 Pad Hold
- 245 Looper
- 250 Pad Mixer
- 252 Levels
- 252 Panning
- 253 Mute
- 253 Send Effects
- 254 Insert Effects
- 254 Routing
- 255 Channel Mixer
- 258 MIDI Tracks
- 259 Audio Tracks
- 261 Programs
- 263 Returns
- 264 Submixes
- 265 Masters
- 266 Pad Mute Mode
- 267 Pad Mute
- 268 Pad Group
- 269 Track Mute Mode
- 270 Track Mute
- 271 Track Group
- 272 Next Sequence Mode
- 274 Song Mode
- 277 Q-Link Edit Mode
- 279 Project
- 281 Program/Audio Track
- 283 Pad Scene
- 284 Pad Parameter
- 285 Screen
- 286 Pad Color Mode
- 288 MIDI Control Mode
- 289 Pads
- 290 Buttons
- 291 Q-Link Knobs
- 292 XY Pad
- 292 MIDI Learn
- 293 Pad Perform Mode
- 296 Appendix
- 296 Effects & Parameters
- 296 Reverbs
- 298 Delays
- 301 Flangers
- 302 Chorus
- 302 Autopans
- 303 Tremolos
- 303 Phasers
- 304 HP (High-Pass) Filters
- 305 LP (Low-Pass) Filters
- 306 Parametric EQs
- 307 Distortions
- 308 Compressors
- 309 Bit Reducers
- 310 Other
- 311 Glossary
- 316 SATA Drive Installation
- 317 MIDI Machine Control (MMC)
- 318 Technical Specifications
- 318 MPC X
- 321 MPC Live
- 323 MPC Touch
- 324 Trademarks & Licenses
- 325 Addenda
- 325 Updates in MPC 2.1
- 325 New Features
- 325 Exporting Expansions
- 326 Snap: Absolute & Relative
- 326 List Edit Settings: Auto-Advance & Recorded Note Duration
- 327 Pitch Quantization
- 328 Step Sequencer: Velocity Adjustment via Q-Links
- 328 Pad Perform Mode: User Progressions
- 328 Faster Attack for Amp Envelopes
- 329 Updates in MPC 2.2
- 329 New Features
- 329 MIDI Control Mode: MIDI Learn
- 330 Humanize
- 332 Generate Random Events
- 334 Project Template
- 335 Updates in MPC 2.3
- 335 New Features
- 335 Arpeggiator
- 337 Auto Sampler
- 339 Crossfade Looping
- 340 Mode Selection Shortcut
- 340 Pad Perform Mode: Chromatic Type and Banks Additions
- 340 Q-Link Navigation Enhancements
- 341 Split Events
- 342 AIR Instrument Plugins
- 342 AIR Bassline
- 345 AIR Electric
- 349 AIR TubeSynth
- 356 Plugin Preset Support
- 357 Corrections