Multiple Sound Modules

I have a Mo Phatt and a Micro X that I am trying to track to the MPC. My question is how am I able to monitor both sound modules through the MPC? Need I another cable??? A DJ mixer??? or is there another solution????
Cheers

Get a mixer. Mixer stereo out to mpc rec in.

(I don't know what u want to do, but midi everything up might also be the solution for ur problem. )

Everything is midi'ed right just looking to connect the sound...just get a DJ mixer?

Mixer or go to radioshack and pick up a couple of those cables that turn two RCAs to one.

should I avoid a dj mixer with rca inputs and go for a mixer that accepts trs cables?

yes, unless you're getting a really good dj mixer

Grab a Mackie Mixer.

Mackie 802-VLZ3 Ultra Compact 8-Channel Mixer

NoonELee wrote:I have a Mo Phatt and a Micro X that I am trying to track to the MPC. My question is how am I able to monitor both sound modules through the MPC? Need I another cable??? A DJ mixer??? or is there another solution????
Cheers

Here's your other solution-- You probably don't need to sample these modules in stereo. Just run one into the Left MPC input, and the other into the Right. Very easy to switch back and forth in the MP. Works like a charm.

^ thats not a good idea at all. Especially with the EMU module which has nice stereo sounds.

poundaproblem wrote:^ thats not a good idea at all. Especially with the EMU module which has nice stereo sounds.

I'm surprised you of all people wrote that...

Recording modules in mono (and dry) is the pro way to go. Stereo fx can always be added in later, if he is tracking out and mixing

sorry but thats wrong,

Not sure what you mean by the 'pro' way but I can assure you that all keyboards, synths, workstations, and modules should be captured in stereo for the most part. Think about it, why record mono when a majority of the patches are stereo? The only things that should be mono all the time are bass parts and kicks as far as the module is concerned. Furthermore stereo 'effects' are an emulation of a stereo field when using a mono signal. It makes no sense to take something truley stereo, capture only one side of it, then use an effect to make it sound stereo later.

Definitely, record/sample in stereo if the source TRULY is stereo.

I'm very familiar with this guys gear, and those two romplers contain only MONO multisamples, with one possible exception. (The Micro-x might include the stereo piano from the Triton.)

So why do so many of the preset patches include stereo fx? To impress the kids browsing guitar center. We all know what happens if we layer up a lot of those stock patches with impressive effects in a song-- muddy/messy sounding music.

It can go either way, but there's no "pro" way of doing it.
A lot of sounds coming out of synths tend to have the "dry" sample to the left and a "wet" FX to the right to make it appear stereo (or vice versa). In those cases, I would

- track it stereo
-split the signal in the DAW into two mono tracks and listen to which and if there's a side that has FX to make it appear stereo
-delete that file with the FX leaving you with the dry sample
-copy the file with no FX (dry) and put in on an empty track and nudge it a few miliseconds so there are no phasing issues, and pan them out.

It sounds tedious, but it works. Then you can add your own verbs, delays, or whatever you choose.

Whatever works for the beat/composition is the "pro" way of doing it. Tracking in mono also has it's advantages as it's easier for each instrument to find its spot in the stereo field, and having a sax for example panned left, and sending it to a reverb that's panned to the right can add depth/width to a mix. Other instruments like strings, I would always record stereo.

There's more than one way to skin a cat. You can learn a lot from experimenting and it's fun. Generally speaking, bass is recorded in mono and panned in the middle...however, there are major records where bass has been recorded stereo and there's records where it's panned a tad to the left. While the general rules should be applied, don't be afraid to break them and do your own thing if it sounds good.

master-ceo wrote:Grab a Mackie Mixer.

Mackie 802-VLZ3 Ultra Compact 8-Channel Mixer

The one good thing about the Mackie VLZ series is the Mute/ALT 3-4, which I use a lot of my 1202-VLZ. It allows you to direct your inputs to two separate outputs and switch between then with the push of a button. This means you can have everything, your MPC, Mo Phat, and MicroX all connected to inputs on the mixer, the main output connected to your audio interface, and the ALT 3-4 output connected to the Record In on the MPC (which is how I have mine set up). This way you can have all of your sources going directly to your monitors, then when you're ready to record your modules, or sample if you have a turntable hooked up, just hit the Mute button for that input on the mixer and its routed to the MPC and the the audio interface (and vice versa). But then again, this is the was I used it with my 2000XL, it helped my eliminate turning on the MPC just to listen to records as well. But with the Input Thru feature on the 2500, you might not need something as good as the VLZ. I bought a Behringer XENYX 502 for $40, which have a mono/mic input channel, 2 stereo input channel, phono (RCA) input and output, and a stereo main mix output. Works fine for my setup, which now consist of a 2500, turntable, and microKorg.