Explain to me why our MPC X's don't have 12-Bit/26.04 kHz?

I just wrapped up a Facebook chat with another MPC X owner about the ESPI-1200 that now has me asking this question.

If Low Hiss figured out how to accurately recreate the aliasing produced by Emu's SP-1200 which is produced using 12-Bit/26.04 kHz sampling rate, how come Akai couldn't do that with the MPC X, Live and One?

No disrespect, but the SP-1200 vintage effects are MEH.

They do not sound like a real SP-1200 like the new software Low Hiss created.

If Low Hiss could do it, why not Akai?

Akai could do it, but it comes down to Dev Time. Lo Hiss is a one man operation and for him it's a passion project. So he can really focus on doing one thing. While for companies like Akai, that kind of culture is not there. They have their hands in lots of places, which causes small details to be lost.

They're concerned with supply chain, manufacturing, distribution, marketing and payroll. This can happen but they must stop releasing so many different MPC's. Let their programmers and musician drive the company forward.

Yep totally agree, for a start a variable sample rate and bit depth option for record in or for session would be great even if its not acurrate sp12 sound would be step in the right direction, my old roland samplers had options for these and could get great tones from them and still use sp303 just for this and its fx, inmusic/akai feels very distant from us here, a quick pop over to the akaigetsatisfaction site to check the company responses to every question, they may aswell be a conservative political party, the definately arent kewl thats for sure

CharlesRandolph wrote:Akai could do it, but it comes down to Dev Time. Lo Hiss is a one man operation and for him it's a passion project. So he can really focus on doing one thing. While for companies like Akai, that kind of culture is not there. They have their hands in lots of places, which causes small details to be lost.

They're concerned with supply chain, manufacturing, distribution, marketing and payroll. This can happen but they must stop releasing so many different MPC's. Let their programmers and musician drive the company forward.

Akai has an entire team and there's a wealth of knowledge on how to achieve that sound. They can get it done in less than a month...

Caustic Yoda wrote:Yep totally agree, for a start a variable sample rate and bit depth option for record in or for session would be great even if its not acurrate sp12 sound would be step in the right direction, my old roland samplers had options for these and could get great tones from them and still use sp303 just for this and its fx, inmusic/akai feels very distant from us here, a quick pop over to the akaigetsatisfaction site to check the company responses to every question, they may aswell be a conservative political party, the definately arent kewl thats for sure

If Akai invested a little bit of time to create a proper SP-1200 sound for the Force and MPC lines they would gain so much in the long run.

Isn’t akai’s a converted version of Decimort 1? Or am I misremembering?

The aliasing and sound has everything to do with the AD in it. Akai can put 8 bit audio on here, it aint gonna sound like a Commodore 64. Giving us a 12 bit/26Khz option isn't gonna magically make an SP1200 come out of it. Otherwise, the MPC60 would've sounded exactly like it. And dont forget, the pitch shifting interpolation has alot to do with that "1200 sound" too.

Monotremata wrote:The aliasing and sound has everything to do with the AD in it. Akai can put 8 bit audio on here, it aint gonna sound like a Commodore 64. Giving us a 12 bit/26Khz option isn't gonna magically make an SP1200 come out of it. Otherwise, the MPC60 would've sounded exactly like it. And dont forget, the pitch shifting interpolation has alot to do with that "1200 sound" too.

With all that said can you explain how Low Hiss did it with his software? Legendary hip hop and house producers are raving about how he recreated the sound, so he's doing something right in his programming...

Just get decimort an put it on a track. I have still a emu emax for low rate sampling and pitching samples down.. In 9 of 10 cases I use decimort which gets me near enough to my sound. At the end of the day now one cares if a track a specific Samplerate.

Get back 2 music making

e-smile-z wrote:Just get decimort an put it on a track. I have still a emu emax for low rate sampling and pitching samples down.. In 9 of 10 cases I use decimort which gets me near enough to my sound. At the end of the day now one cares if a track a specific Samplerate.

Get back 2 music making

Yep, the lofi filters on the live are pretty good actually, i think. I use those instead of the emulation modes.

e-smile-z wrote:Just get decimort an put it on a track. I have still a emu emax for low rate sampling and pitching samples down.. In 9 of 10 cases I use decimort which gets me near enough to my sound. At the end of the day now one cares if a track a specific Samplerate.

Get back 2 music making

Decimort is decent, but their emulation doesn’t get the aliasing right at all. It’s the aliasing that makes the SP-1200 sound special, not just the crunch.

bees80 wrote:

e-smile-z wrote:Just get decimort an put it on a track. I have still a emu emax for low rate sampling and pitching samples down.. In 9 of 10 cases I use decimort which gets me near enough to my sound. At the end of the day now one cares if a track a specific Samplerate.

Get back 2 music making

Yep, the lofi filters on the live are pretty good actually, i think. I use those instead of the emulation modes.

You’re missing out on the benefits of the SP-1200’s aliasing...

not really, since i am not after re-creating a sound from decades ago. I'd rather focus on the now.