By trupro
Tue Oct 19, 2004 9:25 pm
Ok, so , heres something many of yall know already.
I opened the manual to look up one of the many things that
Akai totally left out of the manual. Of course, I ain't find it, but
I found this; something I should have learned years ago!!
You can make a new, 64 pad program, that steps CHROMATICALLY,
(you know, like a real keyboard?), and has separate parameters
for every pad. So, you can take a sample, and make multiple notes.
Just hit shift+program, select the one containing the appropriate sample/pad, then hit the pad to select it. Then hit the soft button F5,
which is AUTO in that screen. it will make a new program with 64 assigned and tuned versions of that same sample. You are not copying the sample, so you don't use up much space at all.
Yes, you can do the same thing with 16levels. But there is a big difference.
First off, 16 levels does not keymap to a controller. You activate it, and
you won't get a whole keyboard of chromatically spread versions of the same sample. Secondly, when you activate 16 levels, you only get 16 notes of the sample on pads.
Third, you don't get separate parameters for each pad. Lets say you sample a bass riff or note from a CD or whatever.
You cut it, filter it, and decay it. Then you realize the nature of a filter:
it's pitch dependant. As you go up the scale, you find that the ish don't thump like the note you started with. But, you don't wanna repeat that note all the time in the sequence. This is because each note in any given scale has it's own resonant frequencies and harmonic overtones, so you can;t just filter and resonate the same for every note.
You feel trapped, and hate on Akai for limiting your rediculous level of creative power. Don't bug out, cus now you can get around that. When you spread the sample out with AUTO chromatic assignment, you are gettting 64 separate pad assignments w/ individual parameter settings. Then you can just change the filter and resonace as you go up the scale to maintain that thump in the bass note, or midrange in the trumpet sample, or whateverthef%*kyouf*%kin with.
If you don't know...now you know.
I opened the manual to look up one of the many things that
Akai totally left out of the manual. Of course, I ain't find it, but
I found this; something I should have learned years ago!!
You can make a new, 64 pad program, that steps CHROMATICALLY,
(you know, like a real keyboard?), and has separate parameters
for every pad. So, you can take a sample, and make multiple notes.
Just hit shift+program, select the one containing the appropriate sample/pad, then hit the pad to select it. Then hit the soft button F5,
which is AUTO in that screen. it will make a new program with 64 assigned and tuned versions of that same sample. You are not copying the sample, so you don't use up much space at all.
Yes, you can do the same thing with 16levels. But there is a big difference.
First off, 16 levels does not keymap to a controller. You activate it, and
you won't get a whole keyboard of chromatically spread versions of the same sample. Secondly, when you activate 16 levels, you only get 16 notes of the sample on pads.
Third, you don't get separate parameters for each pad. Lets say you sample a bass riff or note from a CD or whatever.
You cut it, filter it, and decay it. Then you realize the nature of a filter:
it's pitch dependant. As you go up the scale, you find that the ish don't thump like the note you started with. But, you don't wanna repeat that note all the time in the sequence. This is because each note in any given scale has it's own resonant frequencies and harmonic overtones, so you can;t just filter and resonate the same for every note.
You feel trapped, and hate on Akai for limiting your rediculous level of creative power. Don't bug out, cus now you can get around that. When you spread the sample out with AUTO chromatic assignment, you are gettting 64 separate pad assignments w/ individual parameter settings. Then you can just change the filter and resonace as you go up the scale to maintain that thump in the bass note, or midrange in the trumpet sample, or whateverthef%*kyouf*%kin with.
If you don't know...now you know.
... I know that from day one with MPC 
Go try and find information on adjusting the end margin settings in the 'slice' execution screen.
