The MPC-V: A Virtual Akai MPC

really, after thinking of all this. the biggest bottle neck of the mpc is the transfer of samples from computer to mpc. if you are sampling direct from the record ins, its no biggie, its fast, and awesome. but times are changing for sure. more people are downloading music, or archiving on their HD, or using sample libraries, reason, vsts, etc. So even though we like the standalone mpc, eventually, most of us will have some kind of computer usage involved in our workflow.

I think whats key for akai is to keep the essence of the standalone mpc.........but minimize that time and improve fluidity of the mpc and computer workflow.

what if akai remade a classic mpc like the mpc3000? but brought it into current times by updating some hardware features like adding a HD, a usb connection, usb host, more memory, and faster processor (maintaining vintage mpc3000 sound) AND making a "new akaisys" for it?

I remember akaisys from my mpc4k days, but only used it once or twice. I really really like the idea of something like that. something where you could keep the standalone mpc but drag and drop to it via usb. or some kind of access virus like software component: like a mpc blue box app where i could create pgms and sequences "offline" with no mpc connected............but then connect the mpc via usb and sync it and drag those pgms/samples to the ram and instantly get owrking on the real hardware. and of course, vice versa. NOW COMBINE THAT witih a vintage/classic hardware unit like the mpc3000 (with few modern updates such as usb) for the new akaisysXL I'm picturing both a standalone blue box like app and a hosted vst version of it. and of course, since technology is faster, this would work rock solid, fast as fck, and be backwards compatible with all mpcs.


mpc3000xl + akaisysXL

Scenario 1:
use the new mpc standalone, no computer needed, got that classic mpc3000 sound and feel, but if i want, i can upload samples from my cf card or usb stick (no zip or floppy). since its has some updated hardware and enhanced OS features, i can do some new things like export sequence to wav, or resample internally, change bit rate, maybe even NDC chop.....but I still have the classic mpc3000 workflow and definitely the A/D D/A conversion happening so my drums are mpc3000 nice.

Scenario 2:
I can sync the hardware to my computer. start up the mpc akaisysXL app standalone. I drag from my desktop to the pads, it auto loads the samples and settings into my connected mpc's memory. I can tweak all params and they sync with mpc. I can get busy with the mpc hardware or use the mouse to click around and bulk edit etc. its all sync'd.

Scenario 3:
use the akaisysXL app in a DAW. i can load up that same app in a track of my favorite DAW. I can drag to the pads, use the daw sequencer and get busy. no need for a connected mpc. when im done, i can just save my daw session and we are good. or if i want, i can connect the mpc and sync with the vst. As i make changes in the daw, i can push them to the hardware. or i can just use the DAW and the vst, then export the samples,pgm,seq and put on a usb stick and load it into my remote mpc hardware unit.

Scenario 4:
have the mpc hardware act as a module slaved to the DAW - the vst acting as the connection to my daw. I load up a vst of the app in a DAW track. I connect the mpc. I create pgm, but instead of the samples being played inside the vst, they actually are triggered and played from the mpc's hardware unit and memory. using the mpc as a sound module. since we are talking about a remade classic mpc3000, i would want to do this because i could get the nice sound of the mpc but the flexability of the DAW!!!!

Scenario 5:
the mpc can act as a sound card or audio interface. Since a hardware mpc has record ins, outs, midi, i can use it as a standalone audio interface. I simiply let my daw recognize it as such.

mpc3000xl + akaisysXL vst + akaisysXL standalone + mpc audio interface drivers !!!!

BTW. if anyone from akai is reading this post and likes the idea. I will quit my job and move my family to work with akai on this project!!!!!

edit: actually for the mpc3000xl unit, you could just copy the mpc2500 OS, mpc4k or 3k hardware build. and give it a mpc60 and mpc3000 emulation mode that replicates the sound/output and sequencer swing/resolution of those units.

I would rather use Kontakt and an MPC versus Maschine and Kontakt. I am just not sold on Maschine's sequencer. Outside of duplicting sounds and manually chopping (which by the way is no where close to JJ OS no matter how you spin it), the sampler doesn't do anything special. In fact its missing functioms the MPC 2000XL can accomplish. Maschine just doesn't give me that wow factor that I would stop using any MPC connected to a DAW or VST. Right now, there are dozens of things I would like to see improved with Maschine. If it happens in the future...than I am sold.



I don't think remaking the MPC 3000 is the answer although I like the idea. It would be just be cosmetic. As anything they put in it could be put into any hardware and have the same functions. I get where you are going with this because it feels like a lot went into designing it with quality components. But as many people that my want a bulky and robust controller, there are many more that want something lighter and more portable. AD/DA converters? When was the last time anyone here has purchased new music production gear and raved about its built in converters? Who makes great AD/DA converters today? My vote would be to simply buy these converters to be used with Maschine or a new MPC.

cyrus wrote:
the prob with jjos is the setup time of the pgm (its actually not that bad). say i load up a sample, i have to go to trim, turn ndc for the sample on, then go to pgm mode, select all pads using shift + fkey, then highlight the sample field, then scroll t hrough my sample list. then once its assigned, i can go back into pgm mode and go about my NDC chopping. thats not all that bad, maybe handful of button presses to get there. however, with maschine (with my limited experience with it), you get sample to a pad, then just copy pad, thats its. less presses. and when you are adjusting start and end points, you have dedicated knobs as opposed to crappy mpc2500 scroll wheel.

I am not sure what you are trying to accomplish here. With the JJ OS, you record a sample and then go into Trim Mode. Turning on NDC, the sample is chopped into 32 parts by default which you can quickly modify. All the slices are already mapped to the pads. (Just Blaze said he used over 90 slices to Make Song Cry...image 90 duplicates in Maschine). Simply press a pad and use the MPC 2500's Qlinks to adjust sample start/end (you have the option to use the data wheel if you choose). All the other extra steps you talk about seem unnecessary. After chopping, your convert them to a program. Now you have the option of going into Program Mode and doing what you described. But that is the harder way for doing what we are talking about here.

SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

Askia Shaheed wrote:SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

NDC isn't quite the elegant solution you're making it out to be. Defaulting to 32 chops isn't the best, especially if you're chopping small samples. Likewise, using the qlinks is only ever a rough guide which then needs lots of zooming and fine editing with the dial. The biggest issue for me is that Trim has become so bogged down with the OS that it can barely handle audio while the sequence plays in ANY mode. This is counterintuitive whichever way you look at it.

NI have just gone for simplicity with their chopping method. You can have your duplicate mapped across 10 pads in literally a second. Adjusting start and end points is then no slower than NDC.

Difference is good... you should learn to embrace it.

Coz wrote:

Askia Shaheed wrote:SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

NDC isn't quite the elegant solution you're making it out to be. Defaulting to 32 chops isn't the best, especially if you're chopping small samples. Likewise, using the qlinks is only ever a rough guide which then needs lots of zooming and fine editing with the dial. The biggest issue for me is that Trim has become so bogged down with the OS that it can barely handle audio while the sequence plays in ANY mode. This is counterintuitive whichever way you look at it.

NI have just gone for simplicity with their chopping method. You can have your duplicate mapped across 10 pads in literally a second. Adjusting start and end points is then no slower than NDC.

Difference is good... you should learn to embrace it.

definately. I think the 32 chops work nicely if its a large sample, and most of the time askia i think you are right, you can just create a new pgm directly from trim mode; and this is completely fine and doable.... however, there are those times where you need 2 or 3 chops, and when that is the case, duplicate pad would be faster. Either way I'd always vote to see both options.

The one thing that duplicate pad does have as an advantage would be duplicating more than just the sample, but all the pad params like choke groups, filter settings, etc.

I actually really dislike the qlinks to adjust the start and end points. they are pretty rough and cant be used to get really close....if qlink 3 and 4 (the knobs) were used on the mpc2500, i think that would be better..although still unsure.

Askia Shaheed wrote:And where is Roland?

Good question.

I guess it comes down to corporate strategy and where they think their market is.

They missed a trick by not re-releasing the TR-808 or TR-909 in hardware or software.

Wishful thinking to some extent in the workstation/ plug-in era.

Saw this in another thread.

Looks like the modular midi controller aspect has arrived, from Steinberg of all places.

http://www.sonicstate.com/news/2011/09/ ... ntrollers/



viewtopic.php?f=5&t=148025

Steinberg has released its new CMC controllers, dedicated to Cubase.

Steinberg say that the six USB-powered CMC units offer an integrated control solution that provides a desirable degree of flexibility and configurability.

The CMC controllers are equipped with a combination of control elements that provide tactile control over certain Cubase functions. Each unit can be used separately or hooked up together with the included joint plate, resulting in a control desk that leaves no wishes unfulfilled.

Stefan Schreiber, Steinberg's product marketing manager for hardware, told Sonic State, "The CMC controllers are ultra-portable and the design's perfect, but more importantly, the units offer a mind-blowing array of control options. Without a doubt, the CMCs are the perfect complement to Cubase, and Nuendo too."

The CMC-CH channel controller houses 16 illuminated rubber push-buttons, one rotary encoder and a touch fader. The multi-colored buttons provide access to VST instrument settings, solo and mute tracks, bypass EQs, sends and inserts and channel freeze. Eight of the 16 buttons can also be assigned to a second function. The Channel Select button browses through the entire Cubase mixer, while the rotary encoder is used for panning. The LED-based touch fader controls the volume level while displaying the fader position.

The CMC-FD fader controller features four high-precision touch faders with LED-based metering and solo/mute function. The touch faders offer simultaneous control over four channels in Cubase. With the Channel Select and Bank Select buttons, users can jump to individual channels or select entire channel groups in the Cubase mixer. Up to four FD units can be combined together for 16-channel control.

The CMC-QC quick controller boasts 13 illuminated buttons and eight rotary encoders in three different modes: EQ, Quick Control and MIDI. In EQ mode, the rotary encoders reflect the channel EQ controls in Cubase, while the QC mode maps Quick Control capability onto the encoders for controlling effects and other parameters. The MIDI mode turns the unit into a freely configurable MIDI controller. Eight of the 13 push-buttons can be assigned to random Cubase functions. The included CMC-QC editor allows users to adjust MIDI control change parameters through the computer.

The CMC-PD pad controller features 16 highly responsive backlit pads and one rotary encoder. The pads change their background color according to the pressure exerted. Depressing the pads triggers MIDI notes or selects volume response curves. In 4Velocity mode, the pads are used for easy step recording. The rotary encoder browses sounds and presets in Cubase. The included PD editor software is used to assign MIDI notes to each pad.

The CMC-TP transport controller houses 17 buttons and a touch slider. The slider allows users to jog or shuttle through the project, tap in the tempo, scroll, zoom and browse. All major transport functions, including play, stop, record, cycle, fast forward and rewind, are controlled via the CMC-TP. Other buttons are used, for example, to insert markers, set the locator range or insert new tracks. The top four buttons can each be assigned to a second function, for even more control in Cubase.

The CMC-AI controller highlights Steinberg's universal AI Knob, together with its ten function buttons. The AI Knob allows users to control any control element in Cubase by simply moving the mouse cursor over it. In Volume mode, the AI Knob turns into a high-precision master volume control whereas in Jog mode, the AI Knob is used to jog through the project. The AI Knob also doubles as a browse button to search and select presets. The four function buttons can be assigned to further control parameters.

CMC accessories comprise the CMC Studio Frame 4 and the CMC CC121 Extension Frame. The CMC Studio Frame 4 is a durable construction for housing up to four CMC units. The CMC CC121 Extension Frame can hold up to two CMC units and one CC121 controller.

Features at a glance

Six unique controllers designed to take control of dedicated Cubase areas -- faster and more convenient than with any other solution
Modular system: combine multiple units to form an eminently powerful Cubase control station that exactly fits your needs; joint plate included for quick and easy connection
Fully mirrored Cubase functionality: intuitive operation due to color scheme and icons
Perfect ergonomics guarantee a unique level of handling quality -- created to make your recording and live performance workflow more musical than ever
Perfectly complementing the CC121 Advanced Integration controller
Brings innovative technologies to your fingertips: illuminated, high-resolution touch controls and rotary encoders for detailed visual feedback
Portability: small enough to fit in your pocket, on a master keyboard or wherever desired
USB-powered: no additional power supply required
Cross-platform compatible with Mac OS X and Windows
Cubase AI download version included to start recording your music straight away

clint246clint wrote:Looks like the modular midi controller aspect has arrived, from Steinberg of all places.

I'm not surprised they are innovating... we probably wouldn't be using plugins if it wasn't for Steinberg creating the VST standard in the first place.

cyrus wrote:
the reason i like copy pad, is because when i chop a sample, when you copy a pad it copies the start point too. so usually, the next pad will be the next chop which is easier to get at when you start from the previous start point as opposed to the start of the sample. see what im saying? for example, say i load up a full song on a pad. i might start the first chop 2 bars in, the second chop would be 2.25 bars in. if i copied that first pad, i just have to move the start point .25 as opposed to 2.25. this is faster and more accurate if you get what im saying...

Yeah Maschine works the same way. When I duplicate a sample the start and end points go with the duplication.

Askia Shaheed wrote:
SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

I think the only reason I can think of is the little bit of time it saves. Other than that I can't really see a difference between "NDC" and duplicating the sample across Maschine's pads. So for me it is "NDC" lol

Upright wrote:

Askia Shaheed wrote:
SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

I think the only reason I can think of is the little bit of time it saves. Other than that I can't really see a difference between "NDC" and duplicating the sample across Maschine's pads. So for me it is "NDC" lol

Agreed. When I have a loop to chop, I put it on one pad in a group, and go to sampling/edit. Then I get all my chops and press "Apply To" and select one of the empty group letters. Then I title and save the chops in the group they were copied to. Maschine is only saving the chop points, nothing ends up in Maschine's samples or sounds folders unless I say save with samples. It essentially is NDC.

Coz wrote:

Askia Shaheed wrote:SO lets say NI added NDC. And I had the choise to use NDC or Duplicate. I would pick NDC everytime.

NDC isn't quite the elegant solution you're making it out to be. Defaulting to 32 chops isn't the best, especially if you're chopping small samples. Likewise, using the qlinks is only ever a rough guide which then needs lots of zooming and fine editing with the dial. The biggest issue for me is that Trim has become so bogged down with the OS that it can barely handle audio while the sequence plays in ANY mode. This is counterintuitive whichever way you look at it.

NI have just gone for simplicity with their chopping method. You can have your duplicate mapped across 10 pads in literally a second. Adjusting start and end points is then no slower than NDC.

Difference is good... you should learn to embrace it.

Are we talking about chopping or sequencing? Because sequencing has nothing to do with this discussion. Turning NDC on automatically applies 32 chops spread across the pads. You can the number 4 slices if that is what you need. Using the Q-links does just fine. And you also have use of the data wheel. I find sooming on any MPC equal to or better than Maschine. Maschine has a problem with zooming in took quickly unless NI has addressed it in OS 1.6 or 1.7.

I agree NI has gone with simplicity....in the way it samples and sample editing. Duplicating samples is a must as its standard chopping features is very limited. And if for some reason you needed to do a Just Blase "Ineed to chop this sample into 96 regions," duplicating is not the best way to do it. Give it a try..after the 32 duplication, you will lose interest. Versus the JJ OS where I simply dial in 96 and the sample is already chopped and ready for addditional editing.

Askia Shaheed wrote:Are we talking about chopping or sequencing? Because sequencing has nothing to do with this discussion.

Being able to audition your sounds while the sequencer plays without having to duck in and out of Trim is perfectly in keeping with the discussion. If Akai produce a virtual MPC they need to maintain the ability for the sequencer to play without glitches in all editing modes. This is the wall that JJ has hit with the OS and lack of horsepower with the 1k/2500. I bought XL at version 1.13 and Trim was flawless with regard to handling editing tasks while the sequencer played, but somewhere along the line this has progressively gone to shit. If this isn't important to you that's cool, but why wouldn't you want to be able to adjust your chops in time to your beat?

Also, I would never have any need to chop anything up into 96 parts, and if I did I certainly wouldn't be going for 96 equal chops which is what JJ defaults to. It's far too much work to dial in 96 and then adjust each start and end point manually... not to mention working between multiple programs of the same chopped sample. It's not that practical if you just want to make music.

Reaktor: Rolodecks (Twisted Tools) New Multi-FX VST + Maschine


Can't do this in an MPC. So being able to use something like this in standalone mode is awesome IMO


http://www.youtube.com/watch?v=ERxWGxu5 ... ideo_title