tips for reducing polyphony

I am running JJ0S 4.99. I am currently only using 4 programs on running low on polyphony already. I know that converting my samples to mono is one thing I can do but are there any other tips for freeing up some more polyphony. Also, If I did convert every sound that I used into mono, how could I get it back to sterero during the mixdown process?

once you make it mono, it's mono for life
If you have simulted/layered any sounds you can bounce them by using the 'record main out' function that's another destructive way of reducing polyphony

^^^^^^^^^^

unless you save the mono files in a different folder. load up the stereo samples and pgm's when your ready to mix down.

i would like jj to add non destructive stereo/left/right option to gpe for this reason, and for creative purposes too.

^ that's what i was gonna suggest, the idea of saving the stereo samples and reloading them when you track out.

also make sure your drum pads are playing back monophonically, no need for the rides/snares to overlap

This is one of the most frustrating aspects of the MPC. That's why I've been using Reason as a sound module. But I just love chopping and playing out my chops on the mpc. I think the MPC4000 and 5000 have double the polyphony. Too bad polyphony can't be upgraded somehow.

agreed, just for the sake of headroom. however, 32 is way plenty once you figure out how to use them correctly. i make drum kits where the down beat kick drum alone takes up 6 voices and i still don't max out, even in a song with a stereo lead sample, a bassline, the rest of the drums, additional percussion AND an inst pgm or two.

32 voices + reason (unlimited polyphony) is definitely a good combination.
polyphony mismanagement is a very common beginner's issue with the mpc1000 and isn't something to be worried about - it's a limitation of the user's experience rather than a low ceiling of the machine. don't sweat it too much and just learn about pad mono/poly settings, program mono/poly settings, and when/where to use stereo samples and you'll be fine.

There is no such thing as a natural stereo sound, in order for a sound to naturally be stereo it would have to eminate from two points of origin.
Stereo is a man made creation in the sound field so I am always confused when people sample everything in stereo.

The only thing you should sample in stereo is a sound that has already been processed to have some stereo effect or requirement.

You want to know why 32 is enough polyphony?
Because you sample then create your stereo aspect in the overall mix.
I get PT session from people all the time who have ton's of stereo sh*t going on for no reason other than to clutter the sound field and make a mess for you to clean up.
It's the same as people who EQ everything or add Reverb to everything.

i see the logic in that. you have to have control of it, for sure, otherwise you're SOL
before jjos i was big on ONLY sampling mono, claiming that you could recreate a more favored stereo field in your mix by doubling the channel, selectively panning, eqing and reverbing differently. to an extent this is true but there is one case that caused me to rethink this:

i always sample my lead sample in stereo because vinyl noise is always going to be in stereo. to have a mono crackling behind your lead sample is (to me, at least) a subtle detriment to your overall realism. however, when i'm isolating JUST THE NOTES and none of the air i won't worry about that, and then i'll make it mono if there's no stereo quality to the sample that i already like

but i'm nuts about room noise and record crackle. for the lead sample i usually prefer to keep it just to be sure. especially because you can always turn it mono.

drums it's a different story, i'll almost always sample mono and create my own stereo field in the mixdown.

I often sample in stereo and decide later which side works best for the intended purpose.Sometimes i'll end up using the left and right sides of a stereo sample at different moments in the same beat.. I guess thats why I keep banging on about ST/L/R in gpe!

MPC4000/5000 or use an external sampler for some of the extra work. Polyphony is the only reason I would upgrade to the bigger MPC's.

roxstar wrote:MPC4000/5000 or use an external sampler for some of the extra work. Polyphony is the only reason I would upgrade to the bigger MPC's.

its one of the main reasons that ill be getting a 4000. i dont want to worry about resampling drum layers into a mono track. just to keep the poly down. i want the ability to mix those layers right down to the point that i track it out. its not really a big issue for me right now. mainly because i use alot of outboard gear. the only thing thats played in the mpc is samples and drums. but i will still be getting that 4000.

personally , i like a panned close mic'd philosphy for my beats, mono mics, with a phase inverted bottom snare mic summed mono with top snare mic, and sometimes a phase inverted front kick mic summed with rear kick mic to get a 'smack'. if i want a wider sound like there was overheads, i'll usually just layer stereo snare and crash cymbals to kinda fake the sound of overhead mics. so depending on the sound i want i'll choose hits for my program that are already layered sounding, and get away with less polyphony..but i'm pretty happy with 32 i guess..if the lfo and a few other things were really controllable in real time w/qlink, i'd be pissed about the polyphony limitation, as i'd want to use more note-sounds from internal instead of external midi synths..

Sovereign wrote:There is no such thing as a natural stereo sound, in order for a sound to naturally be stereo it would have to eminate from two points of origin.
Stereo is a man made creation in the sound field so I am always confused when people sample everything in stereo.

sorry for the thread hijack, OT

unless you are deaf in one ear, EVERY sound is naturally in stereo. It's about the listening environment, and the fact that you have 2 ears. Yes, technically every SINGLE sound in the world is monophonic. But 2 ears gives you access to the aural depth you need to process your surroundings, just like 2 eyes gives you the depth perception you need. Plus, in real life, you will never be in such an environment as to isolate any one SINGLE sound.

most of us are working with near-field monitors, where reverberation isnt an issue. so for music, especially headphones, monophonic sound is possible, but not natural sounding.

mesaone wrote:

Sovereign wrote:There is no such thing as a natural stereo sound, in order for a sound to naturally be stereo it would have to eminate from two points of origin.
Stereo is a man made creation in the sound field so I am always confused when people sample everything in stereo.

sorry for the thread hijack, OT

unless you are deaf in one ear, EVERY sound is naturally in stereo. It's about the listening environment, and the fact that you have 2 ears. Yes, technically every SINGLE sound in the world is monophonic. But 2 ears gives you access to the aural depth you need to process your surroundings, just like 2 eyes gives you the depth perception you need. Plus, in real life, you will never be in such an environment as to isolate any one SINGLE sound.

most of us are working with near-field monitors, where reverberation isnt an issue. so for music, especially headphones, monophonic sound is possible, but not natural sounding.

Sound eminated from the point of creation and we are talking about captured sound.
Man created stereo in attempt to better hear things the way his mind associates things.
This is also the reason we have people who are good at engineering and those who constantly ask why they can't get good results.
Say what you want but it still comes down to sampled or recorded sounds, do it in mono unless they have already been processed to be stereo in such a way that you will lose something by going mono.

EQ, Reverds, Delays, etc were all created to help you get things to sound a certain way when micing techniques can't get the desired results.

this conversation is badass, you folks have got serious brains