By Re:
Sun Nov 12, 2006 10:11 am
Overload...haze you might wanna limit this to one question at a time...my brain's gonna explode...
One answer at a time is cool too.
By Blue Haze
Mon Nov 13, 2006 3:50 am
Blue Haze wrote:Blue Haze wrote:Why would we set the quantization under SEQ/STEP Edit option page to 80%?
Why would we quantize note offs instead of note ons?
Why would we make several copies of the same one or two bar loop with different trim start points and assign to different pads sequencing them with one controller?
Why would we use the graph editor for envelopes under the SEQ/STEP edit page for sources?
Why would we assign amplitude to an controller for a pad after you have edited the velocity and adjusted the amp envelope?
Why would we record controller event information on separate tracks from the notes?
Why would I control my fx parameters from qlink?
Any takers
Still anyone?
By McSmooth
Mon Nov 13, 2006 4:29 pm
I think people may be holding back because some of the questions seem confusing. I have to guess on a few...
Why would we set the quantization under SEQ/STEP Edit option page to 80%?
-Quant usually is 1/8 - 1/64... Do you mean swing? Probably not bec that only goes to 75%
Why would we quantize note offs instead of note ons? [set your pads to note off velocity first. Afterwards when you play the pads you use note offs and quantize them.]
-That makes more sense; You can configure pads to fire from releasing (note off) instead of pressing. I'm not sure why other than just having a different style of playing. I normally would use this feature to have one sound play when pad is pushed and a different one on release. Does quantize even line up the note offs? I didn't think, but never tried.
Why would we make several copies of the same one or two bar loop with different trim start points and assign to different pads sequencing them with one controller?
-Sounds like a form of chopping. I normally would chop them into individual sections, but this method could allow certain pads to play back longer sections of the loop and others to just play single instruments.
Why would we use the graph editor for envelopes under the SEQ/STEP edit page for sources?
-To get a nice graphic view of the controller data.
Why would we assign amplitude to an controller for a pad after you have edited the velocity and adjusted the amp envelope?
-Perhaps to use it to change the amplitude of notes that are already recorded on the fly. For example you could easily fade out the notes of one pad evenly which is pretty hard to do manually (although there is 16 level... but only gives you 16 steps instead of 100).
Why would we record controller event information on separate tracks from the notes?
-I always do this as the information doesn't mix well together. Makes it a lot easier to simply redo the controller info and not erase the notes. Also, you can easily mute the CC track and allow the notes to pass through untouched.
Why would I control my fx parameters from qlink?
-Dedicated knobs for those parameters means you can access them even when on a different screen (nice for live work). Also allows you to easily record automation to these changes in the sequencer.
Why would we set the quantization under SEQ/STEP Edit option page to 80%?
-Quant usually is 1/8 - 1/64... Do you mean swing? Probably not bec that only goes to 75%
Why would we quantize note offs instead of note ons? [set your pads to note off velocity first. Afterwards when you play the pads you use note offs and quantize them.]
-That makes more sense; You can configure pads to fire from releasing (note off) instead of pressing. I'm not sure why other than just having a different style of playing. I normally would use this feature to have one sound play when pad is pushed and a different one on release. Does quantize even line up the note offs? I didn't think, but never tried.
Why would we make several copies of the same one or two bar loop with different trim start points and assign to different pads sequencing them with one controller?
-Sounds like a form of chopping. I normally would chop them into individual sections, but this method could allow certain pads to play back longer sections of the loop and others to just play single instruments.
Why would we use the graph editor for envelopes under the SEQ/STEP edit page for sources?
-To get a nice graphic view of the controller data.
Why would we assign amplitude to an controller for a pad after you have edited the velocity and adjusted the amp envelope?
-Perhaps to use it to change the amplitude of notes that are already recorded on the fly. For example you could easily fade out the notes of one pad evenly which is pretty hard to do manually (although there is 16 level... but only gives you 16 steps instead of 100).
Why would we record controller event information on separate tracks from the notes?
-I always do this as the information doesn't mix well together. Makes it a lot easier to simply redo the controller info and not erase the notes. Also, you can easily mute the CC track and allow the notes to pass through untouched.
Why would I control my fx parameters from qlink?
-Dedicated knobs for those parameters means you can access them even when on a different screen (nice for live work). Also allows you to easily record automation to these changes in the sequencer.
By Blue Haze
Mon Nov 13, 2006 4:49 pm
McSmooth wrote:I think people may be holding back because some of the questions seem confusing. I have to guess on a few...Why would we set the quantization under SEQ/STEP Edit option page to 80%?
-Quant usually is 1/8 - 1/64... Do you mean swing? Probably not bec that only goes to 75%
Actually I`m talking about under seq edit page or step edit page under the option button at the bottom. When you set the button to less than 100% then your note won`t quantize so tight so you will have more natural feel.Why would we quantize note offs instead of note ons? [set your pads to note off velocity first. Afterwards when you play the pads you use note offs and quantize them.]
-That makes more sense; You can configure pads to fire from releasing (note off) instead of pressing. I'm not sure why other than just having a different style of playing. I normally would use this feature to have one sound play when pad is pushed and a different one on release. Does quantize even line up the note offs? I didn't think, but never tried.
Yeah playing another note is cool idea discussed before. Setting your drum hits to note-off first tightens your playing as you don`t need to hit the pads very hard and your touch can be more sensitive also tip-from remixers bible.Why would we make several copies of the same one or two bar loop with different trim start points and assign to different pads sequencing them with one controller?
-Sounds like a form of chopping. I normally would chop them into individual sections, but this method could allow certain pads to play back longer sections of the loop and others to just play single instruments.
Right plus you can catch the loops from different points too starting from the snare in fact instead of the downbeat. Old school true school very inventive.Why would we use the graph editor for envelopes under the SEQ/STEP edit page for sources?
-To get a nice graphic view of the controller data.
NIce view yes but if you ever work with Ableton Live clip window you get the idea of how to set up automations of volume, cutoff, effects, pitch, you name it.Why would we assign amplitude to an controller for a pad after you have edited the velocity and adjusted the amp envelope?
-Perhaps to use it to change the amplitude of notes that are already recorded on the fly. For example you could easily fade out the notes of one pad evenly which is pretty hard to do manually (although there is 16 level... but only gives you 16 steps instead of 100).
_Right on the steps. Adding to that the velocity sets up a soft to hard strike on your drums and the amp envelopes set up the sharpest of the drums as well as the length. The Amp can amplify the hit more by adding too it. Think as a doubled hit two samples instead of one.Why would we record controller event information on separate tracks from the notes?
-I always do this as the information doesn't mix well together. Makes it a lot easier to simply redo the controller info and not erase the notes. Also, you can easily mute the CC track and allow the notes to pass through untouched.
On point again and if you want to quantize your qlink playing it is easier too.Why would I control my fx parameters from qlink?
-Dedicated knobs for those parameters means you can access them even when on a different screen (nice for live work). Also allows you to easily record automation to these changes in the sequencer.
Very true also with you can change the parameter by ear to how you want the sounds to play. This mainly goes to the newcomers struggling with the effects.
You were very insightful thanks for your great answers I appreciate it.
By McSmooth
Mon Nov 13, 2006 5:12 pm
Why would we use the "master" tempo instead of the default "sequence" tempo?
Why would we use SMPTE instead of one of the MIDI sync options?
Why would we route one of your MIDI ins to INT A/B instead of SEQUENCER and route the MIDI there?
Why would you need the sequence playing while recording a sample?
Why would you ever want to assign all pads in a program to the same mute group?
Why is it convenient to have some form of external USB storage (mem stick, usb zip, mem card reader, etc)?
Why the hell haven't I upgraded to the 4k yet? (I'm still running a 2kxl + z4)
Why would we use SMPTE instead of one of the MIDI sync options?
Why would we route one of your MIDI ins to INT A/B instead of SEQUENCER and route the MIDI there?
Why would you need the sequence playing while recording a sample?
Why would you ever want to assign all pads in a program to the same mute group?
Why is it convenient to have some form of external USB storage (mem stick, usb zip, mem card reader, etc)?
Why the hell haven't I upgraded to the 4k yet? (I'm still running a 2kxl + z4)
By Blue Haze
Mon Nov 13, 2006 5:39 pm
McSmooth wrote:Why would we use the "master" tempo instead of the default "sequence" tempo?
It is easier to set up new sequences and coping tracks when everythings set to go at least for me.Why would we use SMPTE instead of one of the MIDI sync options?
Actually if I was using a tape machine or a syncing with video using a time stamp of hours, minutes, seconds and frames I would use (Society of Motion Pictures and Television Engineers) Time Code. I use it before with Pro Tools. But now that MTC is the midi version of SMTPE I tend to think of myself to think in bars, beats, and ticks. I have sequencer on the brain. But MTC is fine too.
Why would we route one of your MIDI ins to INT A/B instead of SEQUENCER and route the MIDI there?
I believe that was an earlier question ask and answer at the beginning of the post.Why would you need the sequence playing while recording a sample?
It is easier to hear how the sample sounds over your rhythm tracks before take the sample. DJing blending new rhythms with the grooves.
Why would you ever want to assign all pads in a program to the same mute group?
I think this one to was asked and answered too.Why is it convenient to have some form of external USB storage (mem stick, usb zip, mem card reader, etc)?
It makes it easy to move and transfer samples from your computer and to your hard drive and also easy to steal samples off your buddies 4k when hes not looking or the stores sample library. I never did it though. ha, ha.Why the hell haven't I upgraded to the 4k yet? (I'm still running a 2kxl + z4)
Because it is easier to stick with what you know and what works for you. With what you have you basically have the same thing except the sequencer which you can double time for higher resolution. I hope by sharing tips even on the most common basic parameters on the 4k, Z8, or Z4 we can learn from each other to do what we all wish for to make music.
By McSmooth
Tue Nov 14, 2006 5:58 pm
Why would we use the "master" tempo instead of the default "sequence" tempo?Also great for doing stuff live with next sequence and you don't want the sequence hopping all over. Does not work for people who use non-chopped audio loops.
-It is easier to set up new sequences and coping tracks when everythings set to go at least for me.
Why would we use SMPTE instead of one of the MIDI sync options?Very key points on its intended purpose. I personally like that its a dedicated line (sharing with other midi devices and buffers can offset clock), and I theorize it should have slightly better timing (but thats just my thought, it will depend on interface and drivers too). With the MPC's solid timing, you should be able to easily switch between timecode and bar,beats,ticks without any difference, but if you are doing any sequencing in your multitracker, its obvsiously very important to have things lined up on the correct tick. I use only the MPC for sequencing since thats what its best at and leave the multitrack and post stuff for the computer.
-Actually if I was using a tape machine or a syncing with video using a time stamp of hours, minutes, seconds and frames I would use (Society of Motion Pictures and Television Engineers) Time Code. I use it before with Pro Tools. But now that MTC is the midi version of SMTPE I tend to think of myself to think in bars, beats, and ticks. I have sequencer on the brain. But MTC is fine too.
Why would we route one of your MIDI ins to INT A/B instead of SEQUENCER and route the MIDI there?Whoops, I think the previous answer was different than what I was thinking up, my bad. I was thinking how it allows you to use the MPC as a Z sampler and bypass the sequencer to use it as a sound module.
-I believe that was an earlier question ask and answer at the beginning of the post.
Why would you need the sequence playing while recording a sample?Totally, they never had this on the older MPCs. Makes it possible to record something like an instrument solo to the beat without having to use another device, very handy.
-It is easier to hear how the sample sounds over your rhythm tracks before take the sample. DJing blending new rhythms with the grooves.
Why would you ever want to assign all pads in a program to the same mute group?Hmm, couldn't find it. Basically just for when you want only one sample to play at a time from the program. This can be a good technique when playing with audio loops which would sound disasterous when 2 or more were playing at the same time. The same effect could be achieved by setting the program polyphony to 1, but the first method allows you to add in other pads that are seperate and do not cancel out pads.
-I think this one to was asked and answered too.
Why is it convenient to have some form of external USB storage (mem stick, usb zip, mem card reader, etc)?Exactly. With all the numerous posts about card readers in the 2k forum, it was nice to try plugging a simple USB mem stick into the port to find I could transfer samples this way. That way when someone posts samples and I'm slacking off at work, I can put them on the stick and load them right up when I get home. And this should work for just about all mass storage usb devices (although i'm guessing they have to be fat32 formatted).
-It makes it easy to move and transfer samples from your computer and to your hard drive and also easy to steal samples off your buddies 4k when hes not looking or the stores sample library. I never did it though. ha, ha.
Why the hell haven't I upgraded to the 4k yet? (I'm still running a 2kxl + z4)Because it is easier to stick with what you know and what works for you. With what you have you basically have the same thing except the sequencer which you can double time for higher resolution. I hope by sharing tips even on the most common basic parameters on the 4k, Z8, or Z4 we can learn from each other to do what we all wish for to make music.Actually, I was thinking it is because I'm a cheapass
They do make a great combo, but it would be much simpler if they were one, and I keep finding out about all the cool little sequencer functions the 4k has over the others and it really is superior in so many ways except portability.
By kenzmac
Wed Nov 15, 2006 4:37 pm
Why would we set the quantization under SEQ/STEP Edit option page to 80%?
-Quant usually is 1/8 - 1/64... Do you mean swing? Probably not bec that only goes to 75%
Actually I`m talking about under seq edit page or step edit page under the option button at the bottom. When you set the button to less than 100% then your note won`t quantize so tight so you will have more natural feel.
Hey Blue Haze,
As far as I know, this only quantizes the note durations. I'd be great to be able to quantize the timing on a % strength basis.
By Lumpy
Wed Nov 15, 2006 9:25 pm
McSmooth wrote:Why would we use SMPTE instead of one of the MIDI sync options?
SMPTE is twice as accurate as MTC. MIDI is fairly slow and it takes about two videos frames ( at 29.97 ) to send one MTC message.
SMPTE gives you frame accuracy.
For those using analog tape machines, SMPTE is the only option unless you get a SMPTE to MTC converter but it still is not as accurate.
By Blue Haze
Thu Nov 16, 2006 4:52 am
Great posts guys keep it up with new questions and thanks kenzmac for the correction.
By alpha80
Thu Nov 16, 2006 5:33 am
alpha80 wrote:^If you're pointing out useless sh!t Akai could eliminate from the OS, to free up more room for a FINAL 2.0 upgrade......LOL I was dead wrong. haha
....I feel you.
Another great thread Haze. As Usual.
D@mn.
I'll keep playing catch-up with y'all...
Peace.
By Blue Haze
Fri Nov 17, 2006 4:49 pm
Why would we use the zone page for layering drums?
Inside the zone parameters why would we adjust the filter cutoff in zone parameters rather than in edit 1 page?
Why would we adjust the start point when layering samples?
Why would we adjust the tune setting of different layers?
Why would we adjust the different levels in zones?
Why would we set the X-fade curve to Exponential?
Inside the Edit 1 Page parameters why we adjust these parameters as the sequence is running with the monitor window set for mult?
Why would we adjust the attack?
Why would we adjust the decay?
Why would we adjust the sustain?
Why would we adjust the release?
Why would we set the filter envelope up the same way as the amp envelope or is it necessary?
Why would the zone page be so much greater than the edit 1 page?
Why would I need to use two keygroups for layering drums and not the zone page?
Inside the zone parameters why would we adjust the filter cutoff in zone parameters rather than in edit 1 page?
Why would we adjust the start point when layering samples?
Why would we adjust the tune setting of different layers?
Why would we adjust the different levels in zones?
Why would we set the X-fade curve to Exponential?
Inside the Edit 1 Page parameters why we adjust these parameters as the sequence is running with the monitor window set for mult?
Why would we adjust the attack?
Why would we adjust the decay?
Why would we adjust the sustain?
Why would we adjust the release?
Why would we set the filter envelope up the same way as the amp envelope or is it necessary?
Why would the zone page be so much greater than the edit 1 page?
Why would I need to use two keygroups for layering drums and not the zone page?
