The Best MPC Sequencing Tip Ever!

your only called stupid because it was explained at least 20 different times in the same thread and peeps is still doing it wrong. Its realy not hard at all to brace the concept

Jacpot wrote:your only called stupid because it was explained at least 20 different times in the same thread and peeps is still doing it wrong. Its realy not hard at all to brace the concept

I have the utmost respect for this forum, so I'll not turn this thread into a virtual pissing contest. However, it strikes me as immature and disrespectful to refer to those who may have had difficulty understanding a programming tip as stupid, even it was explained 1000 times. Whatever it takes to help an aspiring musican/producer/performer realize their musical concept is, in my humble opinion, worth the effort.

Though I'm a newbie, I consider the help received from this community to be an invaluable resource and I'm deeply appreciative. Personal attacks are counterproductive.

ariesmale1 wrote:Sup y'all, I'm new to the forum, but I've had an MPC-60 ever since it first came out. For those of you interested in getting that R&B/Hip Hop feel (R. Kelly, Timbaland, Usher, Dre), the best tip I can offer you is to double your tempo while programming. For example, if the song is 100bpm, program it at 200bpm. This causes the MPC to have a higher resolution and produces a tighter, phatter groove. It also causes slight imperfections in the timing, which give it a "human" feel. I usually set my quantize at 1/8 for the basic stuff and the swing setting depends on the individual needs of the track. The quicker, busy hi-hat/kick patterns (Timb, Twista) can be done using 1/16.

As a professional keyboard player/programmer, I've sat in on various recording sessions with Babyface, R. Kelly, and Usher. They all use the MPC and they all double their tempo/resolution when programming. Try it. It really makes a big difference.

While I know this tip has been posted by other members in the past, I don't think its importance was emphasized enough. If anyone has any questions, feel free to email me at [email protected]. I'd like to hear some feedback.[/b]

Good tip fam!

ok I tried this stuff out, but 1 thing I nothiced was that it **** up the swing function,,,, u cant use it...

I was able to.

that s a nice ol trick right there

what about a resolution of 1920ppq ?

anybody have a 4000 it can be done

(or even 3840ppq, that s crazy for y'all man you can t be more humanized than that)

The Beat Conductor


how?

Luigi wrote:ok I tried this stuff out, but 1 thing I nothiced was that it **** up the swing function,,,, u cant use it...

As a result of doubling resolution, quarter notes (in effect) become 8th notes, 8th notes become 16ths, 16ths become 32nds. I set my timing correct on 8th notes and adjust the swing as necessary. This setting moves 8th notes, which were normally 16ths under normal resolution.

I explained this badly, but I hope it makes sense.

mmm I dont get it...

someone should close this thread for real

Luigi wrote:mmm I dont get it...

don`t worry over it and move over to something else. It`s only useful if you need it. After reading several times and it doesn`t sink in you are thinking too much. By working on something else, you can use your energy and others time more efficiently.

so when you do double resolution.. at 160 bpm and you usually do your stuff at 4 bars..


do you then double it up (extend it) to 8 bars, since everything is moving so much faster????

IloveMuzik wrote:so when you do double resolution.. at 160 bpm and you usually do your stuff at 4 bars..


do you then double it up (extend it) to 8 bars, since everything is moving so much faster????

No you double the bar length (8/4 instead of 4/4) not the number of bars (although you could double the number of bars, but then it gets even more confusing).

Since you double the tempo and double the bar length, to get the same length (in seconds) of sound per bar, but twice the resolution because one note (normally 96PPN) is now two notes long (so effectively 192PPN).

So if your snares were hitting on notes 2 and 4, they now hit on 3 and 7.

Confused yet?

To further explain, if a 4/4 bar would usually be spoken:

"ONE and TWO and THREE and FOUR and..."

with the numbers said loud as up-beats and the "ands" being said quietly as the down-beats

it's now:

"ONE two THREE four FIVE six SEVEN eight..." so the odd numbers (said loudly) are your up-beats and the evens (quiet) are your down-beats.

Hope this helps and doesn't confuse you more...

MPC-Tutor wrote:Of course, if you want a more 'human' feel, you shouldn't be using 1/8 quantising in the first place - in fact, you should just turn off quantising completely if realism is wanted.

this thread should have ended after this post

doubling quantize is overkill really

ariesmale1 wrote:
As a professional keyboard player/programmer, I've sat in on various recording sessions with Babyface, R. Kelly, and Usher. They all use the MPC and they all double their tempo/resolution when programming. Try it. It really makes a big difference.

[/b]

I have an mpc60 since 2004 and I noticed that the midi notes get a bit funky some times and I figured out that the more midi notes it has to handle the more inaccurate it becomes.
So i guess this applies to double tempo songs.


You have worked with artist and you said that they use double tempo.
The question is this: How do they record the tracks from the MPC to the multitrack? (a DAW)
Do they sync with midi clock, SMPTE , midi time code or what????

If the MPC gets funky when in double tempo, does it lose that groove when syncing to midi clock?
If they sync with SMPTE is it better than syncing with midi clock?

If the funky groove is preserved with either of the above methods, when you sync the mpc60 to your daw to record the next set of tracks (if you have more than 8 on your MPC60) does it sync good eventhough everything swings funky?

Ive done my research and Ive come up to some conclusions but I always wanna know what other people do in their sessions.