Audio track question...

What are their purpose? I mean that if you can record anything to a pad and just press any pad to play back any sample, what makes an audio track necessary or useful instead of the pads?

The only experience I've had with audio tracks was on the Roland SP-808 from the late 90's. Do the MPC audio tracks work in a similar manner? Cos if I remember right, the 808 used to store samples on pads and you used the sequencer as a four track recorder. Which I suppose isn't actually an audio track recorder as the tracks used midi triggers I think in order to sequence samples stored on pads.

Are audio tracks simply for really long samples? Is that all?

Thanks.

You could think of audio tracks as really long samples, in fact you can assign an audio track to a pad, if you cared to...

The main purpose is to have audio that you can edit/record over on a timeline... so if you wanted to play bongos, record in vocals, etc... and have a more human feel, you could use the audio track.

Otherwise, yes, you could just record a phrase/bar/etc... at a time, drop it onto a pad, and play it. Both have their pros and cons, so just depends what you're going for... but I'd say just play with it and see what you make of it for your own workflow.

Audio tracks are there so you can record audio in sync with the rest of your music. Let's say a vocal track or a sax solo or a guitar riff...

On the other hand, you cannot record audio tracks in song mode, which is confusing and weird.

actually you can "record in real-time" using the Sampler as well (with Keep>Trigger)

but the main benefits of audio tracks are that you can multi-track record with them, and also that you can "scrub" across the timeline and the audio is always there instantly on play.
but you do lose all the filters/FX that a drum program provides. it's a tradeoff.

Thanks for the info, I'll take the advice and have a mess around with it.

I use Audio tracks a lot. One way is I have a few of the built in instruments I would like to group and record to audio so I can free up space and add more layers. But what I use it mostly for is printing my master chain. Sending all MPC channels to outputs 3/4 into my 404MK2 then into my Magnetismus 2 then back into the MPC ins 1/2 recording live back on to a MPC audio track. I’m fully standalone and this is what I do this & getting real nice results.

One day I’ll try record a multitrack session using the audio tracks, as I can see this also been a great way to use audio tracks. Any 8in 8out interface that are rock sold yet?

Main thing about audio track recording is different workflow. If you've ever recorded live instruments track by track, you'll be right at home. It allows for punch-in recording which is unique feature for audio tracks. You might also thing about them as splicing block to work with complex samples. Once you've done with your edit, you might resample it to looper or sampler and use in drumkits. I use it to record live drums, vocals, guitars, bass, that sort of thing. It's actually super convenient as Live has battery. I set up backing track (say another project or sequence) and record my instrument part on top. Then import resulting part into main project. Pretty cool actually

Punch-ins are problematic, because there are no cross-fades, so you'll get clicks at the punch in/out points. Or at least it used to be like that when I had an MPC One.

HouseWithoutMouse wrote:Punch-ins are problematic, because there are no cross-fades, so you'll get clicks at the punch in/out points. Or at least it used to be like that when I had an MPC One.

You can fade audio tracks in and out so this isn’t a problem

I have to assume you haven't done any punch-ins in your life.

Oh wait. This is MPC land, where things are cho cho chopped. Yes, then it's not a problem if you have choppy cuts.

As an exercise, try making a punch-in in, say, a continuous string pad track. Then add your fade outs and ins. See how problem-free it feels. Assuming that this time you want the transition to sound smooth and unnoticeable. Then I suppose you'll suggest using a separate track for the punch-in... How about a separate DAW.

I had the same problem years ago on the Sp-808. I got round it by doing micro fade in and out of the sampled audio. But it's not ideal.

HouseWithoutMouse wrote:I have to assume you haven't done any punch-ins in your life.
Oh wait. This is MPC land, where things are cho cho chopped. Yes, then it's not a problem if you have choppy cuts.
As an exercise, try making a punch-in in, say, a continuous string pad track. Then add your fade outs and ins. See how problem-free it feels. Assuming that this time you want the transition to sound smooth and unnoticeable. Then I suppose you'll suggest using a separate track for the punch-in... How about a separate DAW.

the funny/sad thing is.. that you can get some pretty good punch-ins by using drum programs and Sampler>Trigger takes, with tight amp envelopes and pad mute/choke links..
but then there is the giant problem of not being able to scrub the playhead quickly on long sections of music when using samples instead of audio tracks.

if only the OS had been designed by someone that actually makes music... :p