The Why 4k Thread

For the sake of ideas and sharing of information. I started a why thread on 4k usage.

First and obvious question why would everyone use a sample edit fade in and fade out function?


Next why would anyone use the sample resample function in quick effects?


Then why would anyone change the view on the sample window from log to bipolar?

Simple questions just to get ideas flowing and add related questions on the usage of the 4k.


Lastly too why would anyone use a 4k in a Pro Studio when other simplier and less problematic gear exists on the market?

why would anyone use a 4k in a Pro Studio when other simplier and less problematic gear exists on the market?

This one is easy: timing and workflow.

The timing of the MPC4000 is head and shoulders better than any computer-based sequencer I've compared it to. I'm talking about all aspects of timing, from latency on both the input and output side, to the timing of tracks relative to one another, to the low-jitter steadiness of the beat, etc.

Once you learn your way around the MPC, it's a very fast and productive environment to work in. It's a breeze to whip together a program and a multi, a breeze to whip together a sequence, it's a very natural interface and everything is at your fingertips.

I have a Mac with Logic and I'm not even tempted to move my sequence-making over to the computer. I like the computer for audio editing and for mixdown, but for making a sequence and working with samples, the MPC's still the center of my rig.

'Course, I get frustrated about the handful of bugs that I run into with it (all reported to Akai and documented elsewhere on this forum), but on the balance it's a great piece of gear.

-illiac

illiac wrote:

why would anyone use a 4k in a Pro Studio when other simplier and less problematic gear exists on the market?

This one is easy: timing and workflow.

The timing of the MPC4000 is head and shoulders better than any computer-based sequencer I've compared it to. I'm talking about all aspects of timing, from latency on both the input and output side, to the timing of tracks relative to one another, to the low-jitter steadiness of the beat, etc.

Once you learn your way around the MPC, it's a very fast and productive environment to work in. It's a breeze to whip together a program and a multi, a breeze to whip together a sequence, it's a very natural interface and everything is at your fingertips.

I have a Mac with Logic and I'm not even tempted to move my sequence-making over to the computer. I like the computer for audio editing and for mixdown, but for making a sequence and working with samples, the MPC's still the center of my rig.

'Course, I get frustrated about the handful of bugs that I run into with it (all reported to Akai and documented elsewhere on this forum), but on the balance it's a great piece of gear.

-illiac

Nice post illiac. How about the other questions too my fellow 4k user?

quick efx:

to process the sounds you want without giving up one of the four efx blocks you have for the mix inside the 4k to basically it's like using the audio suite plug-ins in Protools.

Sample edit fade :

same as above even though you can do this also with a velocity and a steep amp env release.

And the sample window viewing log verses viewing the sample in bi-polar:

other than viewing which is major it is just a prefrance normally on a computer it saves cpu/ram being that it takes more ram and time to render the whole file which is probably the same on the 4k once you start reaching your ram max but I've never gotten there.

as far as the rest I co-sign with illiac Basically all of this stuff comes down to prefrance why use the mpc unstead of the computer which is faster or software verses software it's all hype I'm a firm beliver in stick with what you know and you'll get faster and better keep switching and you'll keep starting over.

1) Fade up / Fade down - I've used it to prepare 2 seperate samples that I wanted to join together using the Join function in the edit page so that there would be a smoother transition between the two sounds.

I joined the 2 samples together because one sample was the down stroke strum of a guitar chord and the other sample was the up stroke of the same chord so instead of having to hit two seperate pads I just wanted to hit one pad with one sample. Both samples were an eighth note in value at the tempo that I had my sequence set to. I set the end of the first sample to fade out a split second before its end and set the begining of the 2nd sample to fade in for a split second during its begining.

Nice response guys just getting dialog and response on the parameters going.

Why would we use the triple pole filters?

Why would we set up the triple pole filters with a high pass, low pass, and then a EQ+ settings?

Why would we use controller assign to ext assign to several destinations at one time?

Why would we use the step sequencer in q-link sequence?


Why would we turn the depth to 100% or 50% in program matrix?


Why would we use x-zone velocity in zones with it set to expontent?


Why would we use pad control in the send page of q-link?

Anyone????

^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......

....I feel you.

Still I would like an answer to the questions if you can or even if you didn`t know?


Just questions with simple answers wouldn`t you agree?

Great I dea thread

Are these supposed to be quizes or are you actually wondering?

Why would we use the triple pole filters?
-3 filters are better than 1! Well not always, but it allows you to do more shaping with the sound if you need more in depth EQ.

Why would we set up the triple pole filters with a high pass, low pass, and then a EQ+ settings?
-In the chance you happen to need to roll off the high and low ends of a sound and need to EQ a spot in the middle with extra oomph. Similar to features a high end mixing board would have.

Why would we use controller assign to ext assign to several destinations at one time?
-so you could for example have one knob turn up volume, LFO rate and open the filter all at the same time.

Why would we use the step sequencer in q-link sequence?
-x0x style seequencing (pretty cool idea). Should work for if you want a certain effect or knob movement quantized instead of real time.

Why would we turn the depth to 100% or 50% in program matrix?
-Depends on how much you want the source to effect the destination. Sometimes 1 is good, sometimes you need full 100.

Why would we use x-zone velocity in zones with it set to expontent?
-x-fade in zones allows multiple sounds from one pad at different velocities. lin, exp and log choices usually map differenty on different midi controllers and you may find one works better for certain kits with a certain keybaord/pads/etc.

Why would we use pad control in the send page of q-link?
-I dont think this exists on my Z. I found it in the 4k's 1.33 addendum though. My guess is that it allows you to use a pad's velocity as the controller instead of knob/sider movement.

Nice post just getting people to discuss and inform.

On the last one though you can directly control the volume, cutoff, pitch of the individual pad in realtime oppose to just the part in the receive page.


The way the samples blends into each other helps with the expontent and logimatic curves in the velocity x-fades.

Great posts and thanks for replying.

Now again.

Why would we use an envelope set as AR as in Attack and Decay with zero sustain and zero release?

Why would we set the Aux Envelope to control Pitch?

Why would we use the tilo velocity amplitude between two programs assigned to the same midi channel?


Why would we use Int A or Int B for programs?

Why would we set two LFos to two different destinations in sync at different note values 1/8 and 1/16?


Why would we use offset when assigning more than one destination to ext control instead of replace?

Why would we prefer to use notch filters when eqing a kick on the 4k rather than a peak filter?

Why would we use a external sample editor to record and manipulate the sample then import into an mpc?

Why would we need to learn STEP Edit when we already have SEQ Edit?


Why would we layer in Keygroup programs over drum programs?



Thanks guys for the replies and knowledge I`m sure this helps to great ideas to get more inform for us.

Can we use the formulas you gave us last week, sir? Oh and I forgot my calculator..

drumtrack wrote:Can we use the formulas you gave us last week, sir? Oh and I forgot my calculator..

Yes you can just search for the thread and you`re welcome sir.

for me personally it's because I started with the mp60,the 4000 was from the 60 mpc heaven(and still is) as far as the work flow,the sequencer and it's ppq rate is like what digital performer use to be, which at the time was the highest rate on the market.when you know a piece of gear that become's the simplest thing in the studio.I can make music with any peice that can produce sound,but I am so at home with the mp that that's the WHY I got it.