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BEAT MAKING ON THE MPC2500 PDF

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Beat Making On The MPC – Contents In Brief. Preface i. How to use this book. Section A - Fundamental Skills. Audio Connections. MPC Tutorial - Download 'Beat Making On The MPC ' for Akai MPC tips & tricks. Hi, I recently bought an MPC of site and the guy before me had bought the Ebook Beat making on the MPC and.


Beat Making On The Mpc2500 Pdf

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Product Description. The Akai Professional MPC Music. Production Center combines a Track MIDI Sampling and creating beats. •. MIDI sequencing. Beat Making on the MPC e-Book. Home · Akai Parts - Choose Your Model · All Akai Spare Parts; Beat Making on the MPC e-Book. Image 1. Click to. Welcome to MUSIC PRODUCTION CENTER MPC This operator's manual .. so one 1/8 note equals the half of 1 beat, which is 48 ticks. Below is the.

Mine recognised the Compact Flash card as an external storage drive, allowing me to drag files to and from it much as I would with any other drive. A variety of Akai sampler formats are supported, but bit, When you're done whisking files back and forth, it's advisable to properly dismount the external drive before disconnecting the USB cable, although there's no need to power down either MPC or computer at any point.

Although Akai don't make a big song and dance about this, it's actually quite a handy little extra. This means that you can set up your own custom startup template, complete with a small library of your own favourite general-purpose sounds kick, snare, hat, bass, and sound-effect one-shots, perhaps , ready for you to get straight to work.

Beat Making on the MPC - eBook

They comprise two assignable multi-effects and a master EQ and compressor over the main outputs. There are only 10 multi-effect types, and which one you choose determines whether the effect operates as an insert effect for just one sample or as a send effect available for all samples. The insert effects include chorus, flanger, phaser, tremolo, autopan, compression, EQ, and Bit Grunger a digital lo-fi process , while the two send effects are reverb and delay. All the effects keep the number of editable parameters to a minimum, in line with the general no-nonsense MPC ethos.

The processes are all nice and characterful — the Bit Grunger effect, in particular, is great — but they're also sonically fairly low-spec, so don't expect much in the way of reverb realism, for instance.

More Sample-mangling Power! When it comes to the operation of the MPC, Akai have sensibly chosen to port the functionality of the MPCXL over to the new machine pretty much unscathed, but have then carefully tucked any new features into nooks and crannies of the OS in such a way that you don't really notice they're there until you need to use them.

The main way they manage this feat is by using the Window key — just as on the MPCXL, the LCD normally shows just the most important settings, but highlighting some of these parameters lights up the Window key, whereupon you can press it to get to a page of extra options.

The most useful of the additions are the new sampler features. Long overdue, in my opinion, was some improvement on the simple resonant low-pass filtering of the MPCXL, so I'm pleased to report that the MPC now has two multi-mode filters in series for every sample, each filter offering high-pass, band-pass, and two flavours of low-pass. The resonance of all types is variable, although only the second type of low-pass response can self-oscillate. You do need to be a little careful here, though, as the filter has a fixed digital headroom, and it's easy to introduce a fairly nasty digital clipping if you crank up the resonance too far, even with the built-in filter attenuation at maximum.

The new filter options really make a difference when it comes to working with phrase samples for hip-hop and dance styles.

Some hip-hop producers like to chop their sampled music loops into frequency bands with crossover boxes so that they can have more control over the instrument balance, but this powerful technique is now possible within the MPC by triggering several copies of a sample with different filter settings. It would have been nice to have EQ-style peaking and shelving filters as other options here, but what there is already gives you ten times the sample-mangling power of the MPCXL.

It's great, too, that Akai have finally added in a tempo-sync'd LFO for every sample, and that its rate and onset delay settings are usefully expressed in beats and ticks.

Triangle, sine, square, sawtooth up and down and random waveforms are available, and they can control a sample's pitch, filter cutoff, level and pan settings. This one addition effectively gives you vibrato, autowah, tremolo and autopan effects for every sample, which again expands the sonic options enormously. Time-saving Tools The other sampler upgrades are useful time-savers. First of these is an automatic sample assignment utility which assigns your chosen sample to all the 64 pad slots in a new sampler Program, letting you play it across a note chromatic scale.

There's no fancy Melodyne-style jiggery-pokery going on here, so the pitch-shifts are created just by speeding the sample up and down, but the function is still very handy for creating bass lines from one-shot samples, and I'm sure that this addition is in response to demand from hip-hop producers.

A couple of other updates address some annoying problems you encounter if you use long phrase samples: firstly, when you stop the machine's transport, any long one-shot samples continue playing; and, secondly, if you don't start the transport at the beginning of the looped sequencer pattern, the likelihood is that the main sample around which your track is based won't be triggered until the next iteration of the loop.

Both of these problems have now been addressed.

One new option ensures that all one-shot samples are automatically muted when the transport is stopped, while another specifies any given sequencer track as a Continuous Sample Track, which means that samples triggered from the MPC's sampler should always play back correctly, no matter where you start playing from in the sequencer pattern.

I did find that this latter function wasn't entirely foolproof when I had multiple MPC samples triggering from a single sequencer track, but for a single long phrase sample it seemed to work flawlessly. Finally, there's an improvement on the MPCXL's Slice Sound option, which originally just chopped drum loops into 16 equal slices, leaving you to fine-tune the slices to match the audio beats.

The MPC's new Chop Shop page still lets you do the same thing, but can also be set to automatically detect drum transients in the sample, in a similar way that something like Propellerheads' Recycle does. You get three different parameters with which to tweak the slicing algorithm, although I found it sliced up a drum loop pretty well even with the default values.

Once the slicing has been done, manually or automatically, you can edit any slice boundaries you wish and extract individual slices as new samples. In addition, you can convert the whole sliced loop in two different ways: as a series of individual samples assigned to different pads in a new sampler program, so that you can make your own patterns from the slices; or as a Patched Phrase Chop Shop's equivalent of a REX file which will automatically play the loop slices in sync with changes in the sequencer's tempo.

The Chop Shop is clearly a significant advance, but it's hamstrung slightly by the fact that automatic beat slicing can only be carried out on mono samples, or on one side of a stereo sample. This is a shame, because while beat-slicing is best suited to drum loops, I imagine most people are going to want to keep their drums in stereo.

However, even if you don't use Chop Shop to slice up your main drum loop, it'll still make it much easier to pull out individual hits from mixed loops and vinyl recordings. Wot, No Price Cut? This means that, overall, the MPC will only set you back about 60 percent of what a fully expanded MPCXL would have, and it makes a much more appealing package at the base price than its predecessor.

Q-Link Controls The MPC series began life as sampling drum machines, and maybe it's this heritage that accounts for the paucity of modulation options which have typically been available within their sampling engines.

The MPCXL made some attempt to remedy this with its Note Variation slider, allowing you to encode one variable sampler parameter such as tuning, filter cutoff, or envelope attack time with every recorded Pad Event in the sequencer. This was better than nothing, but you could still only create one type of Note Variation data per note, and any continuous controller-style modulations, such as filter sweeps or pitch contours, were out of the question.

These let you adjust sample tuning, filter cutoff and resonance per-filter and globally , mix level and pan.

There are four Q-link controls on the top panel, two faders and two rotaries, each one with its own 'After' button. Any control can be assigned to any pad thereby affecting its assigned samples and can either adjust one Note Variation data type or one Real Time Event type. Setting up a Q-link control to generate Real Time Events is about as easy as it can be, with the control-range settings relating directly to the filter and tuning parameter values, so you always know exactly where you are.

The After button, on the other hand, needs a little explanation. If the After button is lit during playback, the corresponding control's setting overrides any sequenced data of that type that you've already recorded. If the After button is unlit during playback, the control affects the sound for any pads that you hit while listening back, but doesn't override previously recorded events.

Slightly confusingly, any control generating Real Time Events will continue to send them to the assigned sample even when the After light is off, and because these won't override any recorded Real Time Events, the two sets of data will fight for control of the sample.

The easiest way to see how the zone functionworks is to work through an example. SND' from the tutorial files and assign it to anypad. This beat has been trimmed and looped already for you using the techniquescovered in previous tutorials. Keep your finger on a padand listen to the beat looping. It's a nice beat you may recognise it , but it wontsound that good looped in its current state because that roll at the end willbecome very annoying after a while This is the Zone screen, where we can slice our loopup quickly into smaller parts.

Looking at this screen shot, you can see that the name of the sample is shown inthe usual place at the top left corner. Initially, this will be set to ALL. Highlight this field and jog wheel once tothe right so it says 'ZONE'. Navigate so that 'Zone: Now jog wheel to the right and you'll seethe number increase - at the same time, the highlighted 'zone' within the samplealso changes.

What you are doing here is simply running through all the existingzones that our MPC has set by default. You'll see that there are How does an MPC decide where to place the zones? If you've ever used the computer software 'Propellerheads Recycle', you'll knowthat Recycle analyses the peaks of the drum beat waveform and automaticallyslices your beat into perfect zones. The MPC on the other hand does not do this -in fact it is blissfully unaware of the exact position of your drum hits.

The MPCsimply takes the length of the sample and divides it into equally spaced zones. Soif a sample was samples long and we sliced it into 10 zones, each zonewould be samples wide. With the 'Zone: Here you can change thenumber of zones available. Using the jog wheel or the number pad, change thenumber of zones to 4 and press DO IT. Now if you spin the jog wheel on the zoneparameter, it will show all the zones available as being 4.

As you can see, eachzone is a lot larger now, as the beat has been evenly sliced into 4 rather than 16zones.

Akai MPC Operator's Manual

As this loop is 4 beats or one bar long as shown in PARAMS we cansafely assume that each of these slices can represent one beat. This is what our first slice will soundlike. Listen to the other 3, and you'll notice that Zone 3 is slightly cut off at thestart.

Looking at Zone 2, we can see that the start of the third beat is actuallycontained within zone 2. Why is this? Well most drum beats are played by realdrummers. Real drummers don't play to a quantise template, they sometimes hita snare slightly behind or ahead of the beat, giving the music some swing andfeeling - and even the tightest drummers simply make the odd 'mistake'.

Whencutting up drum breaks recorded by real drummers it is quite common to find. So, the MPC divides your loopinto equal parts based on the number of zones you select.

This is why some hitswill get cut off and this is why you need to adjust your zones. Adjusting ZonesThis is pretty simple. It's the same method as you would use in trimming, exceptthis time you need to adjust the start and end points for all your zones instead ofjust one.

Simply select a zone, then navigate to its start point, hit OPEN and trimto the start of the hit using your jog wheel - you'll only need to make a minoradjustment in most cases. Then go to the end point of the same zone, hit openand repeat the procedure.

Lets adjust the zones in our sample now. Go to Zone 1, and select the end point and hit OPEN window we don't need totrim the start point for this zone as it is the beginning of the sample and we'vealready trimmed that when looping.

The end point is currently at , and asyou can see, this is slightly cutting off the start of the next zone. Move the jogwheel until you are at the start of the hit, around and return to the MAINscreen. Now zone 1 is perfectly edited and in the process, you've also made surethe start of zone 2 is perfectly trimmed.

Stay Informed

Select Zone 2, select its end point, andrepeat the adjustment for this zone, making sure that the end zone of zone 2does not fall on the drum hit that is supposed to be at the start of zone 3 around Go through all 4 zones to make sure everything is as perfect as possible. You'll get this following screenHere you need to set your End Margin. Adding an end margin is supposed to helpstop gaps forming in your sequenced beats due to the abrupt way that your slicesget chopped. The end margin is actually 'borrowed' from the zone in front of thatzone.

Setting an end margin of '30' will actually take 30 sample points from zone2 and add it to the end of zone 1.

It will also take 30 sample points from zone 3and add it to the end of zone 2 and so on. Only your last zone does not getanything added as there is no zone in front of it to 'borrow' anything from. Unfortunately, this is not the ideal solution to the problem of cutting off the endof slices too abruptly - it leaves a small click at the end of each sample which canbe noticeable in certain situations.

We'll look at ways of overcoming this problemlater. This tells your MPC to create a new program out of yourslices. PGM' file from the tutorial files.

This is myversion of the chopped up beat you can use your version if you wish. You'll notice that the pad A1 chop has asmall tick after it, don't worry about that for the moment, we'll deal with thatlater. First, let's recreate our original beat within our sequencer.

Go to a blanksequence and set the BPM to Now, rememberthat we chopped our break into 4 slices and our break was exactly 4 beats long -that means each slice is one beat. So let's place each one of these slices exactlyon a beat. In your 'Now: So beat 1 is represented by Beat 2 is represented by Beat 3 is So to place our zones 'on the beat' simply go into step edit and add our slices atthese 4 points.

Enter yourfirst slice here pad A1. Now navigate to Enter your second slice here pad A2. Enter pad 3 at Alternatively, you can load the sequence BEAT1. MID from the tutorial files. Whichever sequence you use, press play - doesn't sound quite right, does it? Some of the beats seem to come in a little too late Why it sounds weirdRemember that we had to adjust our zone positions earlier.

We did this becauseour hits didn't fall exactly on the beat. To recreate our original beat, we cannotsimply place all chops exactly on the beat, we would need to place some slightlybefore in this case, as the original drummer was playing slightly ahead of thebeat - remember, drummers do not obey strict quantise points - this is whatgives real drum performances their feel.

Load up BEAT2. This time, I've placed the chops 2, 3 and 4 slightly behindthe beat by setting the 'timing' field to 'OFF' and using step edit to place thenotes in their new position. It sounds a lot better. Arranging the chops this wayhas kept the original feel of the beat - but let's look at a few ways of changing theoriginal feel, and making a whole new beat in part 2 of this tutorial.

Chopping Samples Part 2Take chopping a step further by changing the feel of a loop, and creating choppybreak effects in the zone screen. Changing the FeelA common trick in dance music is to make the hits fall exactly on the beat - DJ'slove music like this as they can beat match tunes together a lot more easily. Well,we tried placing all our chops exactly on the beat with BEAT1.

MID, and it did notsound quite right. But let's go back to that same sequence, and this time we'llmake the chops fit exactly on the beat - by doing this we will remove the 'aheadof the beat' feel, making the beat a bit more rigid, but perfect for beat matching. A good place to start is trying to adjust the tempo of your sequence.

Beat Making on the MPC e-Book

Go back toBEAT1. MID which was the sequence we originally created where all the chopswere 'on beat'. First off, if we listen carefully try headphones we can hear smallgaps between each chop, suggesting that if we increase the tempo, things mightsound a bit better.

Try it at There's still a bit of a gap between the second and third chops,and it also sounds like the looping point comes in too quickly. By stretching it out, we willincrease its length and thus remove the gap between it and the third zone.

Sohow do we stretch out the length of a sample? Well there are two ways this canbe done. By decreasing this number we basically slow down the sample on this pad. Well,slowing down a sample results in a longer sample - so what if we tune down thesample on PAD A2?

Well, let's try it. Go to Program shift 6 and select pad A2. Change this to-5 and press play on your sequencer. The sample is definitely slower, but at thesame time, you can definitely hear there has been a change in pitch of thissample - it sounds lower compared to the other samples - mainly on the hi hatsound.

This is always a problem with tuning samples like this. The solution is totune all your samples down by the same amount - the problem this time is thatthis will tune down samples that were okay in the first place!

There is a muchbetter way to lengthen our samples, and it's called Time stretching. We'll look attuning samples down in later tutorials as it does have some other interestinguses. Time StretchingTime stretching lets us lengthen or shorten a sample without changing its pitch. This was a new feature for MPCs which until then, had to make do with the tuningmethod.

Time stretching has its limitations, especially when trying to increasesample length - samples can start to sound metallic, but generally, this feature isa really useful addition to the MPC arsenal. Whenever your MPC time stretches a sample, it creates a completely newsample the time stretched version and it leaves the original sample untouched.

The next field, 'Ratio' is the amount of stretch we wish to apply to our sample. Initially try a ratio of about The third field is our 'Preset' field. Change this field to match the type of soundyou are time stretching. You'll notice thateach preset has 3 versions - A, B and C.They comprise two assignable multi-effects and a master EQ and compressor over the main outputs.

First, open up the ebook in your computer - it reads just like any standard book. With our ebook, we explain the artistic and creative things you can do after learning which buttons to press - e. This book was written specifically for the official Akai operating system, so people running unofficial third party operating systems may experience minor differences in some tutorials, especially with the screenshot views.

MPCXL cost options have been included as standard. You'll get this following screenHere you need to set your End Margin. After reading the Akai manual you will know how to access that function and will be able to slice a sample with it - but that's where the manual stops.