Yeah I should've tweaked the decay in the bass example. Probably would've been interesting!

Thanks Tony!

Thank you! And yeah, I have a whole video I made the synth wall behind me: kzfaq.info/get/bejne/rKlnn6WBy9DFnGg.html This method is great for space saving, but you have to drill into the wall.

Thank you! In regards to your question, I've actually never experience that before. Could it be cable noise? Crunchy noise can sometimes be noisy cable artifacts. It's possible it's a glitch in the MPC as well! 🤣 I'd definitely try a different set of cables though.

@@teftymusictech ok thx for your answer. Next time when i run into these issues I try another cables✌️ Yeah maybe it‘s a glitch or a new free distortion plug-in😅😂 But again , I really enjoy your content , and your setup is super dope 🌞🙏

If using an audio interface with the MPC, it adds a slight delay because theres no delay compensation like in a regular DAW. It's a bit annoying depending on the type of music you're making.

I've done this in the past and while the result is usable, it's definitely not the same. For one, voice stealing has a particular sound with some synths. You also miss out on modulation routings that effect all voices through a patch being played. The biggest thing for me is tweaking a synth while it's being recorded, which is another thing you miss with pure multi-samples. The multi-samples also take up more space in memory (if you're being meticulous) and can take several minutes to create. When I'm producing I'm going from idea to idea as fast as possible. So while I appreciate the multi-sample ability of the MPC and have used it many times in the past, I don't see it replacing my actual synths I record.

Only problem with the sampler is it's not sync'd to the sequencer. Honestly, I have no idea why Akai has left this ability out for so long.

Unfortunately I don't have a Force so I can't say, but if the drum programs work the same, then it should. I'm not sure how it records audio though and if you can easily add a measure or two for the ring out.

It's a bit easier on the Force because length is per-clip instead of per-pattern... and there isn't a hard partition between patterns (scenes), so it's easy to let old clips keep playing while new clips are launched. In general, workarounds like this drum track technique aren't needed as often on a Force. But it's still available as an option when necessary.

@@ToyKeeper That's great info, thank you!

TRANSLATION: Greetings from Ciutadella de Menorca, I'm going crazy with my new MPC ONE and I can't find a way to launch the samples in the sequence using the "PAD Mute" mode without having to wait for the 16 bars to finish while they are playing, The example is that on a pad I have a drum wav loop that lasts 16 measures. If I have this pad muted from the moment I play the sequence, when I activate this loop in the middle of the measure, it will only be played from measure 1 onwards. Is there any way I can play the sampler from the measure I want? thank you so much !!

I find you get different results. I'm going to paste a reply I did from a previous comment on the same subject: I've done this in the past and while the result is usable, it's definitely not the same. For one, voice stealing has a particular sound with some synths. You also miss out on modulation routings that effect all voices through a patch being played. The biggest thing for me is tweaking a synth while it's being recorded, which is another thing you miss with pure multi-samples. The multi-samples also take up more space in memory (if you're being meticulous) and can take several minutes to create. When I'm producing I'm going from idea to idea as fast as possible. So while I appreciate the multi-sample ability of the MPC and have used it many times in the past, I don't see it replacing my actual synths I record.

@@teftymusictech Good points. I hadn't thought too much about the modulation routings.

Sounds like it's auto time stretching. If you go into sample edit 'I think' you can see the warp settings. Just turn off the warp button and it should play back at the speed it was recorded at. It also might be in the 'sample' section of the program edit. I don't have the MPC in front of me so I can't confirm where its at, but it's for sure time warping.

@@teftymusictech global pitch setting knob had been knocked. Always something simple.

That's 100% in the video. It's literally after recording the fade out. You either didn't watch the rest of the video or completely missed the knowledge. Rewatch it at the editing the slice points and pay close attention to converting the last 2 measures into a long 3 measure slice. Then convert WITH EVENTS, pull sequence back to 4 bars, and set the new program to POLY. Again, literally all in the video.

Probably because Beethoven would most likely have only composed using a piano. It is never about how much gear you have but what you do with it!

A lot of people 😂 Personally i hate using a computer. Tried it for a year. Made 1 song and only jammed like a dozen times. It sucked for my creatively and was not fun. I switched to grooveboxes (and eventually the MPC) and i jam out multiple times a week, usually make at least one “finished” song a month, often more. To be fair though. The workflow shown in this video is very cumbersome and not how i go about things

It’s a workflow thing. I make mostly all different types of hip hop and it’s amazing for that. When you really start to learn more of its features and get them down the workflow speeds up tremendously. I can knock out 3-5 beats an hour, not necessarily mixed to perfection that quick but composed and sequenced completely 10-20 minutes a production. He’s going slow to show everyone

I agree, in principle, with what you're saying. But personally, I've gotten much more real music done with my MPC one in the five months since I bought it than in the last six years using my very capable and fully loaded DAW. That's because the MPC one is more immediate. You start it up and just go. It feels like I'm picking up my guitar to just play. The DAW requires too much intellectual attention and sucks a lot of the creative energy away. But that's just me. Everyone has a workflow that works for them.

No, you're totally right. These little machines give you direct approach with your hands on the pads. It is a big neglected point that you can hold a MPC in your hands like an instrument. You can't wrap your hands around a monitor, nor around a laptop. This is the only reason people still buy these "grabable" machines. @@incaroads001

Don’t wanna be in front of windows or Mac 😬 and I think dawless sounds better. Just my opinion. I spent a few years in IT, just for context. I will say I think windows and Mac OS’s are on the whole good and arguably the best software to do what they do. I just can’t stand using them for anything, let alone music, maybe just for the mastering if I was to do that. As long as we are all making music somehow, it’s a win/win for all and I will admit that these different methods are definitely driving innovation today. And I think that’s the point, we all have a choice how to make the music, according to our preferences. Top Of The Pops here I come. Thank god Savile won’t be there 😂

why?

He said the solution is simple and then proceeds to explain for 20 mins. I already struggle with mpc workflow. The deluge is more my speed.